Basset horn  The basset horn (sometimes hyphenated as basset-horn) is a member of the clarinet family of musical instruments. Like the clarinet, the instrument is a wind instrument with a single reed and a cylindrical bore. However, the basset horn is larger and has a bend or a kink between the mouthpiece and the upper joint (older instruments are typically curved or bent in the middle), and while the clarinet is typically a transposing instrument in B or A (meaning a written C sounds as a B or A), the basset horn is typically in F (less often in G). Finally, the basset horn has additional keys for an extended range down to written C, which sounds F at the bottom of the bass staff. Its timbre is similar to the clarinet's, but darker. Basset horns in A, G, E, E, and D were also made; the first of these is closely related to the basset clarinet. The basset horn is not related to the horn, or other members of the brasswind family (Sachs-Hornbostel classification 423.121.2 or 423.23); it does, however, bear a distant relationship to the hornpipe and cor anglais. Its name probably derives from the resemblance of early, curved versions to the horn of some animal. Some of the earliest basset horns, which are believed to date from the 1760s, bear an inscription "ANT et MICH MAYRHOFER INVEN. & ELABOR. PASSAVII", which has been interpreted to mean they were made by Anton and Michael Mayrhofer of Passau. Modern basset horns can be divided into three basic types, distinguished primarily by bore size and, consequently, the mouthpieces with which they are played:   The current Buffet basset horn could be called a hybrid "medium-large bore" model, since it uses an alto-clarinet mouthpiece but has a bore diameter around . A number of composers of the classical period wrote for the basset horn, and the famous 18th-century clarinettist Anton Stadler, as well as his younger brother Johann, played it. Wolfgang Amadeus Mozart was by far the most notable composer for the basset horn, including three basset horns in the "Maurerische Trauermusik" (Masonic Funeral Music), K. 477, and two in both the "Gran Partita", K. 361, and the "Requiem", K. 626, and several of his operas, such as "Die Entführung aus dem Serail", "La Clemenza di Tito" which features Vitellia's great aria "Non più di fiori" with basset-horn "obbligato", and "Die Zauberflöte", where they prominently accompany the "March of the Priests", as well as chamber works.