In this concerto’s adagio, the soloist dips from G-sharp to G, embellishes a brief Eingang (“YNE-gong”) over an A dominant 7th, then reprises its opening rising notes: A, long D, F-sharp. (15[1])This concerto (-5[1])opens with the same two notes, long E and C-sharp, as the composer’s earlier quintet featuring (15[1])the same instrument (15[1])and key. (15[2])Johann André (15[1])posthumously published (15[1])this concerto, transposing low notes upward since it was written for an instrument that Theodor Lotz built for a Freemason (15[1])nicknamed (*) Notschibinitschibi (“NOT-shibi-NIT-shibi”) with an extended range and bent Liebesfuss (“LEE-biss-foose”). This last completed work by its debt-ridden composer, (10[1])four concertos by Spohr, three by Crusell, and two that Weber dedicated to Heinrich Baermann make up the classical concerto repertoire for an instrument often pitched in A. An obsolete “basset” instrument was revived to play this concerto and K. 581. For 10 points, what woodwind (10[1])concerto by the composer of La clemenza di Tito was written for Anton Stadler? ■END■ (10[1]0[1])