By Robin Brooks and Richard Heacock.
In 1907, the young Hungarian violinist Stefi Geyer was at the height of her fame, enchanting audiences as much with her physical beauty as with her playing.
That summer, two men fell seriously under her spell.
Both were composers and both were besotted with her.
Otherwise, they could not have been more different: the intense, fiercely intellectual and pathologically shy Hungarian, Bela Bartok; and the dashing, hell-raising Swiss Lothario, Othmar Schoeck.
Each rival sought to immortalise his new-found muse by writing her a violin concerto.