W. A. MOZART?, Sechs vierstimmige und drei fünfstimmige langsame Sätze, Six four-voice and three five-voice slow movements, arranged by Erich Benedikt. Doblinger 02455. The music upon which these arrangements are based is considered, officially, "very doubtful" with regard to any attribution to Mozart, but it is of great interest nonetheless. It emanates from two collections of unattributed manuscript parts dated 1794 (nos. 11418–20 and 11675–80 in the Austrian National Library), which consist of nine keyboard and organ fugues by J. S. Bach (including BWV 546/2 and 548/2), transcribed as string-quartet and string-quintet movements, with each movement preceded by a newly-composed slow introduction. Such settings (transcriptions, adaptations, and original fugue-writing as well) enjoyed considerable vogue in late-18th-century Vienna, and Mozart himself was music director for an aristocratic early-music society, the Gesellschaft der Associierten Cavaliere, from 1788 to 1791. The present two-staved organ arrangements are very accommodating––and in keeping with authentic 18th-century Viennese practice, can be played with more pedal, or less pedal, as one wishes. For introductions that end on the dominant, short, alternative conclusions in the tonic have been supplied. The ensuing fugues, as part-and-parcel of the regular keyboard and organ repertory, have not been included, except in those instances where they were transposed from unusual keys into common keys, and it is interesting, from a cognitive point of view, to have the Fugues in D# minor, Bb minor, C# minor, and Bb minor (BWV 877/2, 891/2, 849/2, and 867/2) written-out in D minor, B minor, D minor, and A minor, respectively. The two "D-minor" transcriptions, incidentally, contain several inauthentic, but probably true-to-source variants that are otherwise little known. Of further interest, from an historical point of view, are the various tempo markings (again inauthentic, but true-to-source) in which BWV 877/2, 876/2, and 849/2 are labeled Allegro, and BWV 548/2 is labelled Andante. The introductions themselves are of mixed quality. Nos. 1 and 3 from the first group show a propensity toward far-reaching modulatory excursus, and no. 1 from the second group shows a surprisingly skillful handling of the string-quintet idiom. At the very least, these pieces demonstrate that a peaceful coexistence between the old and the new in late-18th-century Vienna was, for better or worse, an established musical fact.