A concerto in D major for basset clarinet was written for Stadler by Franz Xaver Süssmayr, which remains as two incomplete manuscripts. It is now thought that the clarinet concerti by Joseph Leopold Eybler and Leopold Kozeluch were also written for Anton Stadler. In a letter to Constanze from October 1791 Mozart writes of completing the final movement of K 622 ('Stadler's Rondo') and Stadler set out on a concert tour that lasted about four years, during which time he visited at least nine cities, performing more than a dozen times: Making use of his status as a Royal Imperial Court Musician from Vienna he presumably also gave lessons. Reviews of Stadler's playing are generally flattering, such as comments in the Berlin "Musikalisches Wochenblatt" of 1792, where he is described as 'brilliant and accomplished; he also has acquired a precision which shows his confidence'. By 1796 Stadler had returned to Vienna, taking up his post alongside his brother, and starting composing works for basset horn and clarinet, a number of which were published. In 1798 the Viennese composer Joseph Leopold Eybler complete a clarinet concerto, very probably for Anton Stadler, a fine three-movement work with a full orchestra complete with "Harmonie" (including clarinets), trumpets and timpani, in which the "tutti" sections demonstrate Eybler's fine compositional technique. In the concerto manuscript, two versions of the solo part are written on separate staves: they vary in their technical demands and it seems a player may have found the upper line too difficult (most of the passage work lies in the extreme high register, up to a3) and persuaded the composer to make a simplified version. Stadler was invited by a Hungarian count, Georg Festitics, to help organize a school of music in Keszthely near the Plattensee. The result, Stadler's 50-page "Musick Plan" of 1800, represents a thoughtful and organized side of Stadler one might not have suspected to exist (the original is preserved in the National Hungarian Library in Budapest). The document, based on a set of questions provided by the count, recommends a rigorous education, combining performance, music theory and composition with schooling in a broad range of subjects. Examples of Stadler's priorities include study of the violin, singing and piano (also requiring students to learn to tune a piano), a 'general education' (because otherwise one becomes a 'half thing'), as well as an understanding of the psychology of performance.