What could have motivated Mozart into completing the deserted basset horn concerto for Stadler and his basset clarinet, was his event to Prague for the most appropriate of La Clemenza di Tito. One of his traveling partners was his pupil Süssmayr, who found out that he was writing a basset clarinet concerto for Stadler. Mozart couldn't allow himself to be outdone. The concerto was written in Vienna some time between the tip of September and the starting of October 1791. The achieved score was sent off to Stadler in Bohemia and it received its first performance at Stadler’s advantage concert in the Prague Theatre on October 16, 1791. Seven weeks later, Mozart was dead. Even in Mozart's day, the basset clarinet was a rare, custom made tool, so when the piece was posted posthumously, a new adaptation was organized with the low notes transposed to well-known range. This has proven a tricky determination, as the autograph not exists, having been pawned by Stadler, and until the mid 20th century musicologists did not know that the one variation of the concerto written by Mozart's hand had not been heard since Stadler's lifetime. Once the challenge was found, makes an attempt were made to reconstruct the long-hooked up edition, and new basset clarinets were built for the actual aim of acting Mozart's concerto and clarinet quintet. There can not be any doubt that the concerto was composed for a clarinet with a long range. In this context it is worth noting two other works written for Stadler and his device by composers intently linked to the Mozart–Stadler circle that used the prolonged range of Stadler's instrument: the clarinet concerto by Franz Xaver Süssmayr famous for having accomplished Mozart's Requiem and that by Joseph Leopold Eybler.
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