Werk: Die Kunst der Fuge, BWV1080, Contrapunctus VII

The more you read about music, the more you notice the word “authenticity” cropping up annoyingly frequently. The great raging musical arguments of the late 20th century still burn; performers, listeners, even composers find themselves having to take up quasi-moralistic stances on gut strings, vibrato, and whether trills should begin on the upper or lower note.