the organ in the 19th and 20th centuries, and were especially useful as teaching pieces for beginners. Subsequent scholarship has suggested that this collection was conceived specifically for the pedal clavichord, thereby making the stylistic claim of inauthenticity far less tenable. 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. In 1998 Harald Vogel recorded the collection on a pedal clavichord. The eight preludes and fugues are: Prelude and Fugue in C major (BWV 553) Discounted as being a form of Corelli allemande, the prelude combines features of an Italian concerto or an organ praeludium. The brief fugue is more substantial than a fughetta; the style of the two musical motifs is similar to that of Pachelbel and Fischer. Prelude and Fugue in D minor (BWV 554) The compact prelude has an ABA structure, where the A section is dominated by the middle concertante B segment. Both the prelude and fugue are reminiscent of the first and last lines of the Lutheran chorale Jesu, meine Freude. Prelude and Fugue in E minor (BWV 555) The prelude of BWV 555 is in the durezza style of suspended dissonances, typified by the ricercars of Frescobaldi; the model is adapted from the traditions of organ versets in Southern Germany, rather than string trio sonatas. Peter Williams considers that the fugue is probably the best in the collection "with stretto, inversus, and a counterpoint typical of earlier treatments of the descending chromatic fourth." Prelude and Fugue in F major (BWV 556) In the four-movement Pastorella, BWV 590 by Bach, the prelude of BWV 556 is vaguely similar to the third movement, but does not match Bach's musicianship. According to Williams, it seems like "an exercise in simple rising sequences, with a basso-continuo pedal part", showing the Italianate influence of Antonio Soler rather than Domenico Scarlatti. The fugue could have been composed anywhere in Germany: its musical figures have a polyphonic style like Pachelbel's Magnificats. Prelude and Fugue in G major (BWV 557) The prelude is a "miniature toccata" with freely-composed improvisatory passages. It reflects the musical influence of Johann Kuhnau, Friedrich Erhard Niedt, Johann Mattheson, Bach and Fischer. The subject of the fugue is syncopated, so, as in the Well-Tempered