in the French style, BWV 831 (Clavier-Übung II), the sixteenth variation of the Goldberg Variations BWV 988 (Clavier-Übung IV), marked "Ouverture. a 1 Clav", and Contrapunctus VII in the original manuscript version of Die Kunst der Fuge as contained in P200. Although possibly intended for use in services, the technical difficulty of Clavier-Übung III, like that of Bach's later compositions—the Canonic Variations BWV 769, The Musical Offering BWV 1079 and The Art of Fugue BWV 1080—would have made the work too demanding for most Lutheran church organists. Indeed, many of Bach's contemporaries deliberately wrote music to be accessible to a wide range of organists: Sorge composed simple 3-part chorales in his Vorspiele (1750), because chorale preludes such as Bach's were "so difficult and almost unusable by players"; Vogel, Bach's former student from Weimar, wrote his Choräle "principally for those who have to play in country" churches; and another Weimar student, Johann Ludwig Krebs, wrote his Klavierübung II (1737) so that it could be played "by a lady, without much trouble." Clavier-Übung III combines German, Italian and French styles, particularly in the opening Preludium, BWV 552/1, whose three thematic groups seem deliberately chosen to represent France, Italy and Germany respectively (see discussion of BWV 552/1 below). This reflects a trend in late 17th- and early 18th-century Germany for composers and musicians to write and perform in a style that became known as the "mixed taste", a phrased coined by Quantz. In 1730, Bach had written a now-famous letter to the Leipzig town council—his "Short but Most Necessary Draft for a Well-Appointed Church Music"—complaining not only of performing conditions, but also of the pressure to employ performing styles from different countries: Already in 1695, in the dedication of his Florilegium Primum, Georg Muffat had written, "I dare not employ a single style or method, but rather the most skillful mixture of styles I can manage through my experience in various countries ... As I mix the French manner with the German and Italian, I do not begin a war, but perhaps a prelude to the unity, the dear peace, desired by all the peoples." This tendency was encouraged by contemporary commentators and musicologists, including Bach's critics Mattheson and Scheibe, who, in praising the chamber music of his contemporary Georg Philipp Telemann, wrote that, "it is best if German part writing, Italian galanterie and French passion are combined". Recalling Bach's early years in