Overture This chapter explores the nature of the fi lmic stimulus that led to conception of the . . . Bach . . . project and addresses the rationale behind my selection of Bach’s Partita No. 1 for solo violin BWV 1002 as a case study. I briefl y examine the elements that triggered my impetus to dispute the dominant notions of musical work and musical authorship and explain how such examination has been articulated in this specifi c case. Finally, I introduce a brief remark on the nature of the commissions of the . . . Bach . . . project before I posit the three central questions that the present book attempts to answer, a questioning critically linked to the overall reconsideration of the author-and work-concepts advanced here.