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