Two composers. Two bassoonists. Two premieres. One big musical feast. The bassoon as a solo instrument does not appear all that often in the concerto literature, but a concerto for two bassoons is truly rare, being something that could arise only in the environment of an ensemble that possessed two soloists on that instrument. One such double concerto has been played for many years under the name of the important Czech composer Jan Krtitel Vanhal. But what if it had really been composed by someone else? The question has been raised by Ondrej sindelar, a player of the classical bassoon, who has found the same concerto bearing the name of Anton Zimmermann in one of Prague's archives. The two works differ from each other only in the slow movement. Theft? Plagiarism? A copyist's error? Collegial assistance? We are left with the unsolved mysteries of authorship and of whether the two masters may have met. Vanhal's travels took him from Hradec Kralove to Vienna, Italy, Hungary, and Croatia. Having established himself professionally in Hradec Kralove, Zimmermann went on to a successful career in Pressburg (Bratislava) in the service of Archbishop Jozef Batthyany. What is important, however, is that Ondrej sindelar has now joined his former teacher, the bassoon wizard Sergio Azzolini, to record Zimmermann's version of the double concerto in it's world premiere, supplemented by a solo concerto by Zimmermann (another premiere) and one of Vanhal's three preserved concertos. Noteworthy music that is previously undiscovered in the hands of wonderful soloists and orchestra - that's a real musical feast.

... Storace gave a quartet party to his friends. The players were tolerable, not one of them excelled on the instrument he played; but there was a little science among them, which I dare say will be acknowledged when I name them: First violin Haydn, second violin Baron Dittersdorf, violoncello Vanhal, viola Mozart... The tenor Michael Kelly's recollection of that musical evening in 1784 in Vienna has been the source of much speculation by musicologists, and it is also one of the things that inspired this recording. The four composers, all highly acclaimed in their day, met in multiethnic Vienna, and they shared the bond of friendship. While Mozart behaved towards Haydn with respect like that of a pupil towards a master and dedicated a series of six string quartets to him (including the "Dissonant Quartet" in C major), Haydn told Mozart's father that his son was "the greatest composer known to me either in person or by name." Dittersdorf was likewise unsparing with superlatives in his autobiography: "He is undoubtedly one of the greatest original geniuses, and I have never before known any composer with such an amazing wealth of ideas." The names of Dittersdorf and Vanhal are familiar to some, but few have encountered their music. This recording offers an opportunity to discover those nearly forgotten masters' works superbly interpreted by the Bennewitz Quartet. The enthusiastic acclaim of international critics for their previous Haydn album is affirmation of their extraordinary quality in this repertoire. More remarkable discoveries from the hand of the Bennewitz Quartet