ABSTRACT
BACH's tercentennial will give rise to a flood of new studies on the master's life, personality, and works. Wishing to add a droplet to this flood of celebratory essays, I am venturing into the controversial field of his style. More specifically, I am taking issue with a recent attempt by the well-known Bach scholar Robert L. Marshall for his provocative reevaluation of Bach's style during the years 1730–45, when he was between the ages of forty-five and sixty. 1
