As the final concerto, indeed probably the final orchestral work of any kind that Mozart completed, the Clarinet Concerto stands as a supreme example of the genre and contains some of Mozart's finest writing for any instrument. He had already written extensively for the clarinet and basset horn, and all of these works indicate a remarkable understanding of the instrument's capabilities and idiosyncrasies. The clarinet's ability to navigate very large intervals is tastefully demonstrated in numerous passages and helps create excitement and freshness. I prefer to use the B renreiter edition of the Concerto mainly due to its readability and clear presentation of the basset and standard clarinet parts. In the past I have also used the International version, edited by Reginal Kell.
Some interpretive decisions are likely to be purely a matter of personal preference.
One guideline I consider critical is to maintain direction of the melodic line. I measures 331-333. Since the final repetition includes the basset note low C, some adaptations write measure 333 as a verbatim repeat of measure 332. Both of these presentations sacrifice the continuity of the melodic line descending through three octaves in favor of strictly maintaining the pitch class. My preference is to substitute G for C and leave all the remaining pitches as they are indicated in the basset part.