The identity of "Elselius," whose name is associated with this work, is currently being re-examined. The inscription "organist in Freiberg" in the manuscript transmitting the G major version, BWV 955a, caused confusion. Consequently, the old complete edition attributed it to "J.C. Elselius," but this individual was a musician a full generation after Bach, rendering the attribution inaccurate. While interest in "Elselius" remains strong for reconstructing Bach's creative history and biography, the original composer of the theme is likely not a significant issue when performing this work.

BWV 955, as one of Bach's early fugues from before the Weimar period, retains an older style. Some immaturities are evident, such as monotonous sequential progressions not derived from the thematic material, ornamental figures, and triads that disrupt the independence of voices. However, the interplay between the sonorous quarter-note theme and the decorative sixteenth-note figuration makes the whole piece clear and easy to understand. Furthermore, the range and texture constantly change, with dramatic effects achieved through a weighty beginning in the low register, development starting in the middle register, a sparkling ascent to the high register after the bass subsides, and then a solid return of the bass.

In the course of these developments, the quarter-note theme recedes somewhat into the background, serving more as a structural backbone for the entire piece rather than a prominent theme to be distinctly heard. This suggests that possibilities for brilliant ornamentation are open to the performer.