>>> Di Veroli wrote: 
>>> Vincent wrote: ... dotted rhythm of the Ouvertures.  When the
>>> composer never explicitly compose the piece with dotted
>>> rthymic notations, are we supposed to play it dotted?
>> Certainly, and current musicology fully agrees that this was the
historical performance. There are many French sources explaining this 
>> unambiguously, and also some German sources explaining how this 
>> is done also by Germans playing French-style music.
> Vincent wrote: In that case, does that mean for French originated 
> dance movements of a German Ouverture or Suite, despite written in 
> equal rhythm, we should play inégales?  ... 

Indeed it looks as this was precisely what German composers expected. The
details are too lenghty and complicated (the matter varies by dance types
and sub-types) for a discussion online. I refrain from quoting recent
writings of mine. Let me just recommend you a book (already mentioned in
this list some time ago) by recognised authorities on this topic:

Little, Meredith and Jenne, Natalie. Dance and the Music of J. S. Bach.
Expanded Edition. Indiana University Press, Bloomington, Indiana (USA) 2001.
pp.17ff.

Practice of inégales in JSBach still lags behind, but on Facebook a few
weeks ago we were commenting on an excellent recording of the Courante from
one of the English Suites, played by Ketil Haugsand with notes inégales.

Best 

CDV



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