I have a dim memory of asking Leonhardt his view on these. I seem to recall
that he said that certain copyists were too naive to contemplate the idea of
a 4/4 gigue, and that he played these pieces as they were notated - which
would be in keeping with his general approach, which is to believe what is
written on the page, unless there is clear documentary evidence that
composers notated one thing but meant something completely different.
Douglas
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