For a long time, this work's authenticity was debated, and its classification remained uncertain. However, its inclusion in the 'Neumeister Collection,' a manuscript compiling Bach's early chorale arrangements, has led to provisional conclusions on two points: first, it is highly probable that this is an authentic work by Bach, and second, the work is not merely a fugue but has a chorale melody as its subject.

Although it was included in the Old Bach Complete Works (Bach-Gesellschaft Ausgabe), no one recognized the origin of the piece's subject due to the extensive transformation of the melody. Compared to the uppermost voice of the chorale 'Mach's mit mir, Gott, nach deiner Güt' (BWV 377) from Bach's 'Four-Part Chorales' (1784-87, edited by C. P. E. Bach and Kirnberger), there are few common features other than a gently ascending and descending arch-shaped melody. However, the 'Neumeister Collection' manuscript concludes with the four-part chorale, revealing the origin of this piece. (The source material referenced by the Old Complete Works did not include this four-part chorale.)

Although it has been transmitted solely under the title 'Fugue,' a closer look reveals some peculiarities in its fugal writing. In the initial subject exposition, the tonic key appears twice consecutively. While each voice typically makes its first appearance with the complete subject, the soprano, which is the third voice in this piece, first carries fragments of the subject motive in an interlude. Furthermore, the subject, when recapitulated in the bass at the end, is in the subdominant key. This final presentation lacks a discernible countersubject, and the right hand simply strikes simple triads. However, such writing becomes understandable if the work is considered a chorale arrangement, as chorale arrangements permit prioritizing the presentation of the chorale melody over strict fugal practice.

While the work's identity appears to have been established by its inclusion in the 'Neumeister Collection,' it is not yet fully guaranteed to be an authentic work. Opinions suggesting it is a doubtful work persist, and the question of its authenticity remains unresolved. Furthermore, although it is presumed to be intended for organ due to its treatment of a chorale, it is written in a way that allows performance on any instrument. Consequently, many ambiguities still remain. However, the subject tumbles up and down across the full range of the keyboard, the sound constantly changes color with shifts in register, and tension is created by the alternation between ascending and descending passages. These effects can be enjoyed with different timbres on any instrument, be it organ, harpsichord, or modern piano.