More on "categories of authenticity"

by Chris Schatz

These categories for authenticity are outlined by James Webster in an essay on the many unauthenticated works attributed to Haydn. It is interesting to note the contrast between these categories for determining authenticity and the four criteria of authenticity of St. Jerome, cited by Foucault. Webster's categories make no mention of the role of quality, which was so important to Jerome. In the case of works that belong to the "doubtful" category, a critic's impression of quality may be used only as evidence of its correct or incorrect attribution.

AUTHENTIC -- Authentic works of a composer's catalog are those which may be traced to musical sources or documents derived from the composer. Autograph manuscripts by the composer provide the most useful sources for determining authenticity, though documentation in thematic catalogues and autograph letters may also be used as evidence of authenticity.


SPURIOUS -- A work is considered spurious when its authenticity as a work of a specific composer (such as Mozart or Haydn) is contradicted by its documentation through authentic sources as the work of another composer.

DOUBTFUL (or PROBLEMATIC) -- Works that cannot be authenticated as the genuine works of any composer are considered doubtful. These works include those which are attributed to a composer through nonauthentic sources. The best nonauthentic sources are considered "good" sources and include printed editions and catalogues from the historical period and place of compositional origin.