Anton Stadler
Anton Stadler (June 28th 1753 with Bruck year der Leitha - June 15th 1812 with Vienna) was a player of Basset horn (the ancestor of the Clarinette) and a Austrian Clarinettiste , as well as a friend and comrade of drinking bout of Mozart.
He was famous of his time to be a virtuoso of the basset horn of which he controlled in particular the serious register, and Mozart composed for him several works of which the Concerto for clarinet in major the K622 and the Quintette for clarinet and cords in major the K581 (actually both composed for clarinet of basset hound, an instrument designed by Anton Stadler and of which he was to be at the time the only player).
He played orchestra of Vienna with his brother Johann (1755 - 1804), also clarinettist, and their duet clarinet/basset horn was rather famous. Anton had the idea to add an extension to its clarinet in and that in B flat, which led it to a collaboration with the manufacturer of clarinets Theodore Lotz. The result was not the creation of the Clarinette of basset hound, today not being used practically any more but for the execution of the Concerto for clarinet and the Quintette for clarinet and cords as Mozart in their original version.
The relation between Stadler and Mozart is prone to polemic. It is not known yet if both knew each other already before the entry of Mozart at the freemason S or that of Anton to the Orchestra of Vienna. Both joined the same maconnic cabin at the same time. It is known however that Constanze, the woman of Mozart, appreciated Stadler very little because it tended to involve her husband in his drinking bouts. On his side, Mozart appreciated the talent of Stadler enormously and composed to his attention of works which took into account the characteristics of its clarinet of basset hound. The rumors according to which Stadler borrowed great money sums from Mozart without never returning them, or was made invite to drink and to eat with its depend or pawned the parts that Mozart had been written to him really could not never be confirmed and comes mainly from the correspondences of Constanze which did not hide its contempt for what she considered being of excesses of vice. In a letter of 1800, that is to say after the death of Mozart, it declares for example with an editor who wanted certain manuscripts of: “ to address itself to the Stadler clarinettist. It had, inter alia, of the copies of new trios for basset horn. He affirms that the trunk which contained them was concealed to him, but I am convinced that he pawned it for only soixante-treize ducats. ”
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