Thanks to Kathleen R. O'Connell for her link to the Rosen article.

I do, however, have a few questions.  If Mendelssohn did not in fact
"revive" back with his performance of the St. Matthew Passion, what *did*
he do? Why was Schumann's advice to study the WTC considered so radical?
Why did composers start making homage to Bach in a big way, all after
Mendelssohn's St.  Matthew performance?

I realize that history gets revised every now and then, but does anyone
know the research on which Rosen's article was based?

Steve Schwartz