Abstract
When Dr. Albert Schweitzer published his great study of J. S. Bach in 1908 and surveyed a century of progress in the revival (or rescue) of the greatest composer's music, he asked: “Where can we hear, except rarely, performances of the suites, the Well-tempered Clavichord (sic), the Italian Concerto, the Chromatic Fantasia, the piano concerto in A minor, the C major Concerto for two pianos? Where are the Brandenburg orchestral concertos and the orchestral suites securely fixed in our programmes? Where are Bach's secular cantatas regularly given?” And he added: “Statistics of Bach performances on our concert programmes … would show that there are not too many towns where the auditor can really get to know Bach.”
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