[01:42] This is reported in Johann Mattheson, Grundlage einer Ehrenpforte (Hamburg, 1740) [imslp], p. 322-3: “Zum andern, daß er in seinem hohen Alter, welches er über 87. gebracht hat, nach Hamburg, an Christoph Bernhard, seinen gewesenen Discipel, geschrieben, mit Bitte, ihm seinen Leichentext: Cantabiles mihi erant justificationes tuae in loco peregrinationis meae, nach dem pränestinischen Contrapunctstyl, mit 2. Cant. A. T. & B. auszuarbeiten: welche Motete er denn, zwey Jahr vor seinem Ende, Ao. 1670. empfangen, und ein grosses Vergnügen darüber bezeiget hat. Er rühmte au das Stück in seinem Antwortschreiben mit diesen Worten: Mein Sohn, er hat mir einen grossen Gefallen erwiesen durch Übersendung der verlangten Motete. Ich weiß keine Note darin zu verbessern.” [On the other hand, that at his advanced age, which went beyond 87, he wrote to Christoph Bernhard, his former disciple, in Hamburg, asking him to prepare his funeral text: Cantabiles mihi erant justificationes tuae in loco peregrinationis meae, according to the contrapuntal style of Palestrina, with two Cant. A. T. & B.: which motet he then received, two years before its death, in 1670, and expressed great pleasure in it. He praised the piece in his reply with these words: "My son, he has done me a great favour by sending me the requested motete. I know of no note to improve in it.] The mentioned piece, sadly, did not survive.

[02:01] Bruce Haynes, The End of Early Music (Oxford university press, 2007), p. 210: “[a period composition is] a copy, not based on any specific original, that is so stylistically consistent that experts cannot discover anachronisms or inconsistencies in it; a correctly attributed ‘fake.’” 

[03:55] Henry Purcell, Sonatas of Three Parts (London, 1683) [imslp], preface. A similar example from the same time is Robert King's "Sonetta after the Italion way" [sic], found in Peter Holman and John Cunningham, Restoration trio sonatas (London, 2012), p. 43. 

[04:23] Regarding the style of Telemann’s pieces see Young-Shim Chang, Italian Influences in the Corellisirende Sonaten of Telemann (Master Thesis, University of North Texas, 1995) [unt]. 

[06:23] Clive Brown, “Spohr, Louis” (2001, [Grove online]) 

[06:57] Patrick M. Liebergen, “The Cecilian Movement In The Nineteenth Century: Summary Of The Movement”, in: The Choral Journal, Vol. 21, No. 9 (1981) [Jstor], pp. 13-16. 

[07:35] Interestingly, in the title of the piece Bruckner also included in brackets “Lydisch” - that is, in the Lydian mode, which is another way for him to say that he’s referring to old church music traditions. More about Bruckner’s sacred works see in Felix Diergarten, Anton Bruckner: Das geistliche Werk (Müry Salzmann, 2023). 

[08:08] James Garrat, Palestrina and the German Romantic Imagination (Cambridge University Press, 2002), p. 189. 

[08:40] Bruckner’s piece Pange, lingua, gloriosi Corporis mysterium (WAB 33) was published in Franz Xaver Witt’s Musica Sacra Vol. 18 (1885). Famously, Witt published the piece with some “corrections” that were interpreted by some scholars as an attempt to make Bruckner’s piece more appropriate to the Cecelian/Renaissance ideals. However, this and other changes were probably made for practical reasons. ibid., 187. 

[08:51] Musica sacra: Monatschrift für Kirchenmusik u[nd] Liturgie, Vol. 7 (1874) [google books] [cpdl]. 

[09:40] Alcuin Reid, The Organic Development of the Liturgy (Ignatius Press, 2005), Ch. 3, under "The Encyclical Musicæ Sacræ Disciplina". This is also mentioned in Karin Strinnholm Lagergren, The Word became Song: Liturgical Song in Roman Catholic Convents and Monasteries 2005-2007. (PhD diss, Gothenburg University 2009) [academia.edu], 72. The original decree in Latin can be read here: [vaticana.va]. 

[12:00] Nathaniel J. Chaitkin, Gaspar Cassadó: His Relationship With Pablo Casals And His Versatile Musical Life (PhD Diss., University of Maryland 2001) [cello.org], chapter 2.

[12:25] The exposure and reaction of Kreisler were published in the New York Times, 8/2/1935 [nytimes].  

[13:03] Some examples of false attribution: 1. Henri Casadesus’ concertos for viola “by C.P.E. Bach” (1911), “by Handel” (1924) and “by J.C. Bach” (1947) [on imslp the pieces are categorized as composed by Casadesus “in the style of X”]; 2. Gaspar Cassadó’s toccata “by Frescobaldi”. Read about this and other false attributions by Cassadó in Chaitkin’s PhD referred above in footnote 12. The “Frescobaldi” toccata can still be heard today with the false attribution to Frescobaldi, for example on this 2015 [YouTube] video. 

[13:45] “Han van Meegeren's Fake Vermeers” on Essential Vermeer [website]. See also the YouTube video “Van Meegeren's Fake Vermeers” by Museum Boijmans Van Beuningen [YouTube]. The video excerpt shown is taken from the 2019 drama film The Last Vermeer. 

[15:14] Gordon Reynolds, “New Organ Music”, in: The Musical Times, Vol. 100, No. 1400 (Oct., 1959) [Jstor], p. 549. The full review: “Albinoni: Adagio in G minor, arr. Giazotto. Originally for archiviola [sic] and organ, the music is here arranged for organ solo, and most pleasing it is. It consists of a passionate melody in the early Italian operatic tradition, with some gently contrasting bravura for a middle section. The only doubt is about this part -whether the organ can make enough of what is obviously very effective on a stringed instrument. However, it is good for the organist to have available an old piece full of warmth and life, as an antidote to too much detergent.” 

[16:16] See Appendix III below. 

[16:47] A transcription of this document is available online on [imslp]. This find was presented in Nicola Schneider, La tradizione delle opere di Tomaso Albinoni a Dresda, tesi di laurea specialistica (Facoltà di musicologia dell'Università degli studi di Pavia, Cremona 2007). 

[17:36] ibid., pp. 181–186. “Mi divertii a realizzarlo melodicamente continuando quello spunto tematico. Mi sembrava di ritornare ai tempi di Paribeni maestro di armonia che mi assegnava compiti simili.” Parts of it are translated on a [wikipedia discussion]. 

[18:50] For all the published music by Simonetti/Michel, see [amadeusmusic.ch]. The works of Michel are also presented in Heynes, p. 212. 

[19:33] Joseph Haydn, Entwurf-Katalog (D-B, Mus.ms.theor. Kat. 607 [ca. 1765-1805]) [Stabi], pp. 20-24 [numbers in pencil]. 

[19:51] Frederick Reece, “Composing Authority in Six Forged "Haydn" Sonatas”, in: The Journal of Musicology, Vol. 35, No. 1 (University of California Press, 2018) [Jstor], pp. 104-143. The forging aspect included faking a library self mark and omitting two pages only to then fake their reconstruction by himself. See also the booklet of the recording (below). 

[20:07] In addition, a recording was made: Paul Badura-Skoda (fortepiano), Six Lost Piano Sonatas by Joseph Haydn (Unauthorized Version), (Koch International, 1995) [discogs]. Michel continued his work into the 21st century. He published more “Baroque” compositions under another pseudo name - “Giovanni Paolo Tomesini”, and recently he announced new completions of unfinished pieces by Mozart: Lukas Speckmann, "Winfried Michel: Musiker aus Münster vollendet Mozart", in: Westfälische Nachrichten (26.12.2023) [wn.de]. 

[22:00] Haynes, p. 214.