This is one of those items that seems to excite the debate in us rather than
the discussion, but I've certainly enjoyed reading the varied opinions
nonetheless. The names and opinions of some rather esteemed and respected
scholars and historians have been raised as well . . also extremely useful
and educational.
Since there is no hard evidence, as has been insisted upon, to authenticate
any of our opinions, debate seems futile. But the discussion is not only
great in itself, but is very helpful if we are to try and piece together the
fascinating possibilities of style and musical expression of the Baroque,
and particularly the astounding Bach output.
Given the bottom line that we simply don't KNOW who wrote these pieces, and
perhaps never will, I truly believe that we are left to our instincts and
our gut feeling that comes from constant study, performance, and listening
to the works of Bach and those around him (after all, that's what HE did!).
With three performances to go over the next three days in the second series
of performances of the "complete" works, I, too, have an opinion, and it's
one that comes from how these pieces feel and sound after experiencing the
"rest" of his work. They are truly unlike anything else that Bach wrote for
the organ that we know of, and I would tend to agree that he didn't write
them, although I would never discount the idea that he may have coached
others in writing them, possibly as an exercise. They are just too perfectly
balanced and charming in every way to say J. S. wasn't involved somehow.
Interesting, isn't it?
What should the bulletin or recital program say? Why not just attr. J. S.
Bach? Seems to cover what we know at the moment. Of course, all this is just
an opinion, since we all know about as much as my two wonderful feline pals
about the subject . . and I'm not kidding . . they've heard the joys and
frustrations of learning the complete organ works of Bach over, and over,
and over . . .
Cheers to all,
Stephen Williams
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