the Michaelisschule in Lüneburg between 1700 and 1702, his son Carl Philipp Emanuel records in the Nekrolog, Bach's obituary of 1754: The court orchestra of Georg Wilhelm, Duke of Braunschweig-Lüneburg was established in 1666 and concentrated on the music of Jean-Baptiste Lully, which became popular in Germany between 1680 and 1710. It is probable that Bach heard the orchestra at the Duke's summer residence at Dannenberg near Lüneburg. In Lüneburg itself, Bach would have also heard the compositions of Georg Böhm, organist at the Johanniskirche, and of Johann Fischer, a visitor in 1701, both of whom were influenced by the French style. Later in the Nekrolog C.P.E. Bach also reports that, "In the art of organ, he took the works of Bruhns, Buxtehude, and several good French organists as models." In 1775, he expanded on this to Bach's biographer Johann Nikolaus Forkel noting that his father had studied not only the works of Buxtehude, Böhm, Nicolaus Bruhns, Fischer, Frescobaldi, Froberger, Kerll, Pachelbel, Reincken and Strunck, but also of "some old and good Frenchmen." Contemporary documents indicate that these composers would have included Boyvin, Nivers, Raison, d'Anglebert, Corrette, Lebègue, Le Roux, Dieupart, François Couperin, Nicolas de Grigny and Marchand. (The latter, according to an anecdote of Forkel, fled from Dresden in 1717 to avoid competing with Bach in a keyboard "duel".) At the court of Weimar in 1713, Prince Johann Ernst, a keen musician, is reported to have brought back Italian and French music from his travels in Europe. At the same time, or possibly earlier, Bach made meticulous copies of the entire Livre d'Orgue (1699) of de Grigny and the table of ornaments from d'Anglebert's Pièces de clavecin (1689), and his student Vogler made copies of two Livres d'Orgue of Boyvin. In addition, at Weimar, Bach would have had access to the extensive collection of French music of his cousin Johann Gottfried Walther. Much later, in the exchanges between Birnbaum and Scheibe over Bach's compositional style in 1738, while Clavier-Übung III was in preparation, Birnbaum brought up the works of de Grigny and Dumage in connection with ornamentation, probably at the suggestion of Bach. Apart from the elements of "French ouverture" style in the opening prelude BWV 552/1 and the central manualiter chorale prelude BWV 681, commentators agree that the two large-scale five-part chorale preludes—Dies sind die heil'gen zehn Gebot BWV 678 and Vater unser im Himmelreich BWV 682—are partly