Perhaps the problem with curiosity is that every time we find out something new (perhaps I should drop the "we" and speak for myself), er, I find out something new, it throws a wrench into everything that I thought was so. Every chronology, whether personal or historical, is subject to interpretation, and a new twist or insight can alter the map significantly.
Take the Classical Period. There's a hell of a lot of Haydn, Mozart, and Beethoven to learn, study, play, and play again. A lifetime's worth, or perhaps three. I used to feel like I had a handle on the gist of the period, and I used to think I had a good narrative to give to my students to help them understand the music, the people who wrote it, and the times they lived in.
Now Pleyel has entered my life, much the way Titz did: through string quartets they wrote during 1780s, and I find it difficult to look at music the way I did. It's as if an easy-to-see triangle has become a polyhedron, with sides that interact with one another in ways I will never understand.
(Some of those "sides" are named Boccherini, Dittersdorf, Stamitz, Gluck, Clementi, Vanhal, Titz, and Pleyel.)
Everyone knows the name of Pleyel. Heck. There is even a website for the piano company that Ignaz Pleyel opened in 1807. He was born the year after Mozart in a lower Austria (the town that is mentioned in the Wikipedia article seems no longer to exist), and seemed to be a middle child (he was the 24th of 38 children) of a school master and his very fertile and always-pregnant wife. 38 children. Imagine. If she started at 14, she would have had to have one child per year until the age of 52, and live to tell the tale. Now this is curious.
Anyway, Ignaz had excellent teachers (Vanhal and Haydn), and he got a good job in the French city of Strasbourg (the border city with the German name). In 1791 (the year that Mozart died, and a tough year for musicians in France--what, with the Revolution and all), Pleyel went to London. Haydn, Pleyel's old teacher, was in London, so Pleyel had some healthy competition. So did Haydn, for that matter. It certainly made musical life in London even more lively. Pleyel happened to return to Strasbourg during the Reign of Terror, and to escape being put in prison or being killed, he wrote music to celebrate the Republic. He became a French citizen, and moved to Paris to start a publishing business. He began by publishing a complete edition of Haydn's string quartets, and made his fortune by publishing music by Boccherini and Beethoven, among others.
This is all very impressive, but what I find most impressive is the quality of his "Prussian" String Quartets, which are available in the IMSLP. You need to follow some complicated directions to get the score to print out properly, but the parts are original, intact, and very readable, both visually and playing-wise.
Here are the first three, the second three, and the third group of three.
I hope you're curious.