and England, and even to influence the performance of slurred pairs of notes in the fast movements of Beethoven (and other non-French and non-Baroque composers), such as in the Sonata in F major, Op.78, among other sonatas, where the tempo and the slurred pairs can only result in a Lombardic or snapped short–long "notes inégales" performance. In Restoration England, in the French modelled, Lullist influenced works of Henry Purcell, William Croft, Jeremiah Clarke and their contemporaries, the short–long slurred pairs of notes inégales can be found throughout the musical literature, and often variant sources "write out" the short–long "snapped" notes inégales rhythms explicitly. Imitation of the French style outside France One of the best sources for understanding the situation of notes inégales in France is the notation of music by composers from other European countries who wrote imitations of it. Music from Italy, Germany and England all borrowed this feature of French music, with the difference that the inequality of note values was often notated, since not all performers could be expected to add the notes inégales themselves (though evidence from Georg Muffat and Telemann strongly suggests that German performers would certainly be familiar with them). Prevalence outside France Application of notes inégales to contemporary performance of music not written in France, for example the music of J.S. Bach, is extremely controversial, and indeed resulted in one of the most heated debates in 20th-century musicology. One school of thought attempted to show that the French practice was actually widespread in Europe, and performance of music by composers as diverse as Bach and Scarlatti should be suffused with dotted rhythms; another school of thought held that even-note playing was the norm in their music unless dotted rhythms were explicitly notated in the score. Evidence on both sides of the argument is compelling; for example 17th-century English writings recommending unequal playing (Roger North's autobiographical Notes of Me, written around 1695, describes the practice explicitly, in reference to English lute music), as well as François Couperin, who wrote in L'art de toucher le clavecin (1716), that in Italian music, Italians always write the notes exactly the way they want them played. Then again, the practice may have been more widespread in some areas, such as England, than others, such as Italy and Germany. J.S. Bach famously imitated the style in Contrapunctus II from the Art of Fugue; however, in this piece the notes