Filip Presseisen, Pièce d`Orgue a 5 avec La Pedalle continu BWV 572 oraz Pièce d`Orgue BWV 532 (Preludium in D) – zagadnienie wykonania dźwięku H 1 w Fantazji G-dur BWV 572 bez charakterystycznego dla organów francuskich ravalement, „Sztuka europejskiego baroku. Anglia | Francja”, ed. M. Karwaszewska, Wydawnictwo Akademii Muzycznej im. Stanisława Moniuszki w Gdańsku 2023, pp. 66–75. Stylistic and performance issues in Pièce d`Orgue a 5 avec La Pedalle continu BWV 572 with reference to Pièce d`Orgue BWV 532 (Prelude in D). The duel that did not happen The French idiom in the works of Johann Sebastian Bach is a multifaceted topic. From the point of view of the history of organ literature, the anecdote about the duel between the Leipzig composer and Louis Marchand has grown into a legend repeated by successive generations. One of the most recent evocations of this myth appeared in John Eliot Gardiner's book: A series of trips followed: [...] in October to Dresden, where he was announced as a participant in a famous duel (extremely publicized, though never documented) with French harpsichord virtuoso Louis Marchand. When it turned out that his opponent had given the scrum at the last minute, Bach returned to Weimar in a hangry mood: the duel did not take place, his pride suffered, and the promised five hundred thalers of prize money never found its way into his pocket [...]. 1 A number of sources describing this story appeared only decades later. Exactly 37 years elapsed between the alleged attempted confrontation and the inclusion of the first mention in Mitzler's obituary. 2 Johann Nikolaus Forkel did not relay the anecdote until 85 years later, 3 while Philipp Spittaa’s account did not appear until 156 years after the fact. 4 It should be considered significant that Louis Marchand's retreat was described only in German sources, and that the "guarantee of authenticity" of the legend given by Christoph Wolff was disputed by Christopher Wiley, 5 arguing that in fact the alleged duel is a figment of the imagination. 6 1 J.E. Gardiner, Muzyka w zamku niebios. Portret Johanna Sebastiana Bacha, Krakow 2021, p. 194. 2 C.P.E. Bach, J.F. Agricola, VI. Denkmal dreyer verstorbenen Mitglieder der Societät der musikalischen Wissenschafften; C. Der dritte und letzte ist der im Orgelspielen Weltberühmte HochEdle Herr Johann Sebastian Bach, Königlich-Pohlnischer und Churfürstlich Sächsicher Hofcompositeur, und Musikdirector in Leipzig, „Musikalische Bibliothek” 1754 vol. 4 no. 1, pp. 158–176. 3 J.N. Forkel, Über Johann Sebastian Bachs Leben, Kunst und Kunstwerke, Leipzig 1802, pp. 7–8. 4 Ph. Spitta, Johann Sebastian Bach, Leipzig 1873, pp. 574–77. 5 Ch. Wolff, Johann Sebastian Bach. Muzyk i Uczony, transl. B. Świderska, Warszawa 2011, p. 231. 6 Ch. Wiley, Myth-Making and the Politics of Nationality in Narratives of J.S. Bach’s 1717 Contest with Louis Marchand, „Journal of Musicological Research”, 2019 vol. 38, pp. 193–215. By analyzing 25 accounts of this story and ranking them into nine categories, Wiley, as it were, answers the questions that troubled Peter