The concerto was written in Vienna some time between the tip of September and the beginning of October 1791. The completed score was sent off to Stadler in Bohemia and it obtained its first functionality 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 device, so when the piece was posted posthumously, a new edition was arranged with the low notes transposed to general range. This has proven a difficult choice, as the autograph not exists, having been pawned by Stadler, and until the mid 20th century musicologists didn't know that the one version 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 original edition, and new basset clarinets have been built for the exact 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 longer range. In this context it is worth noting two other works written for Stadler and his tool by composers closely associated with the Mozart–Stadler circle that used the prolonged range of Stadler's device: the clarinet concerto by Franz Xaver Süssmayr famous for having accomplished Mozart's Requiem and that by Joseph Leopold Eybler. The establishing orchestral ritornello is joyful and light-weight, and soon transforms into a flurry of sixteenth notes in descending sequence, played by the violins and flutes while the lower gadgets drive the piece ahead. After the medial caesura, the strings begin a chain of canons before the 1st last theme, that includes dueling violin I's and violin II's, enters. The second remaining theme is a lot more subtle until the fanfare of its final 2 bars.