Leopold Anton Kozeluch (1747-1818) gehört zu jener Generation von Böhmen, die in Wien im 18. Jahrhundert ihr Glück zu machen suchten. Schon 1781 hatte Kozeluch einen dermaßen guten Ruf, dass er vom Salzburger Erzbischof das Angebot erhielt, als Nachfolger von Mozart das Amt des Hoforganisten zu übernehmen. Seine Klaviertrios müssen sehr beliebt gewesen sein, denn von 1781 bis 1810 waren über 60 davon erschienen.

To Leopold Koželuh, rival and successor of Mozart, one essentially owes the abandoning of the harpsichord in favour of the pianoforte, and to Dussek / Dusík the advent of the modern piano. The second was erred only by being right too soon and writing avant-garde music before the pre-eminence of Liszt. It remains to grant them the place that they deserve for this instrument (34 piano Sonatas for Dussek), and in the sphere of forgotten piano duets.

As one of the most respected Czech composers of his time, Jan Anton Kozeluch (1738-1814) composed around 45 masses and Italian operas, among other things, but was overshadowed by his cousin Leopold Antonín Kozeluch (1747-1818), with whom he is still often confused today. Kozeluch also wrote two bassoon concertos. The Bassoon Concerto in C major was one of the most frequently performed masterpieces for bassoon in the 18th century, and with it the Italian bassoonist Sergio Azzolini is now opening the Kozeluch album with the Camerata Rousseau under the direction of Leonardo Muzii.

This collection of ten Classical symphonies concertantes was recorded (quadraphonically!) in 1977 and issued as a five-record set by EMI Electrola. Now it has been licensed by CPO and reissued economically on just three CDs.