originally been believed to have been Bach's own. Before that, Bach and his family had shown their interest in various genres of Stölzel's music: Klavierbüchlein für Wilhelm Friedemann Bach: in the 1720s Bach copied a four-movement harpsichord suite Partia di Signore Steltzeln (Partita by Mr. Stölzel) as 48th piece in the Klavierbüchlein (keyboard-booklet) of his eldest son Wilhelm Friedemann, adding a Trio (BWV 929) of his own hand to its last movement, a Minuet. Possibly in the period 1732–35 Bach performed cantatas of Stölzel's Namebook cycle in Leipzig. From the first Sunday after Trinity 1735 to Trinity Sunday the next year Bach probably performed Stölzel's entire String-Music cantata cycle in Leipzig's churches. Text booklets containing Schmolck's librettos and the chorales Stölzel had added to his settings of these librettos, were printed for the Leipzig church services in that period. Notebook for Anna Magdalena Bach: some time after 1733–34 Anna Magdalena Bach noted "Bist du bei mir", BWV 508, based on the aria "Bist du bei mir geh ich mit Freuden" from Stölzel's opera Diomedes, in her notebook. For a long time the music of this aria was misattributed to her husband Johann Sebastian. Johann Mattheson reckoned Stölzel among "the level-headed, learned, and great music masters" of his century. Lorenz Christoph Mizler rated Stölzel as great as Johann Sebastian Bach. Next generation Georg Benda, Stölzel's immediate successor at the court in Gotha, restaged church music of his predecessor, sometimes with score revisions, until 1768: Passion settings and many cantatas such as the 1728–29 double cantata cycle (restaged in the liturgical years 1752–53, 1763–64 and 1765–66) were included in such repeat performances. Stölzel's legacy was however disintegrating through sales of manuscripts, which court musicians had continued after the composer's death. In 1778 Benda wrote: "... Only the best works of my predecessor, which could be used even today for church music, are saved, because already a long time ago I separated them from useless junk and kept them in my own house." Through Benda's neglect manuscripts of Stölzel's works in Gotha were lost. In Sondershausen Stölzel's works were copied, performed and conserved. Surprisingly Johann Gottlob Immanuel Breitkopf did not list any church cantatas by Stölzel in his catalogues of 1761, 1764 and 1770. Johann Kirnberger considered Stölzel to be one of the greatest contrapuntists, and illustrated his Die Kunst des reinen Satzes with music by Stölzel. C. P. E. Bach adopted several