Eight Short Preludes and Fugues

[1][2] While originally attributed to Bach, scientific examination of the extant manuscripts by Alfred Dürr in 1987 and subsequent stylistic analysis of the score by Peter Williams have suggested that the eight preludes and fugues might have been composed by one of his pupils, Johann Ludwig Krebs.

It has not yet been possible to date the compositions, but Williams writes: "Though frequently charming and melodious, they could hardly have been written by J. S. Bach for his pupils since their 'standard of counterpoint and general musicianship' does not fit the period in question, nor does the scarcity of copies suggest they were much used, [...] even as part of a bigger compendium.

3, there is little modulation beyond what one finds in Fischer's succinct little essays, and any 'updating' of his idiom discerned in BWV 553–560 – binary form, post-Vivaldian patterns, post-Bach melodies, further episodes in some fugues, sometimes unclear handling of part-writing – could be that of an admirer of his in 1750 or so.

[5][2] Subsequent scholarship has suggested that this collection was conceived specifically for the pedal clavichord, thereby making the stylistic claim of inauthenticity far less tenable.

[6] Several elements of the pieces, including the rolling of large chords, octave doublings and repeated notes, and the patterns of movement of the fingers and feet, the rhythm, and overall texture are idiomatic on the clavichord but make little sense on the organ.