I'm preparing a
concert of all misattributed works for my next program, and it's been lots of fun. There are so many pieces to choose from! The BWV is full of bogus Bach works, and unscrupulous publishers in the 18th and 19th centuries claimed that all kinds of stuff was by Mozart, Pergolesi, etc., so it would sell better. Well-known fakes like "Mon coeur se recommande à vous" as well as PDQ Bach are in the program too. I got the inspiration last year after we sang a not-really-by-Buxtehude Magnificat, which we always referred to as the "pseudo-Buxtehude."
It's been amazingly liberating to work on this music. A bass raises his hand and asks if that note should be a G-sharp rather than a G. Or the sopranos find the text underlay awkward and wonder if they can adjust it. The current orthodoxy is to treat composers as gods, so all questions like that always come down to determining the composer's intent. What would Mozart have wanted? we ask, ignoring the question of what Mozart's (or our) audience would want. The composer's score is treated as holy writ, and any deviation treated as blasphemy.
With this bogus music, the will of the composer can be freely ignored. Who cares what Jean-Baptiste Weckerlin (the composer of "Mon coeur") wanted? He's not even a demi-god. Who knows what loser wrote Bach's supposed St. Luke Passion? Whoever he was, he's a pretender to divinity. At last, I can make decisions based on what will make the most sense to the audience, without worrying about the high priests of Historically Informed Performance breathing down my neck.
I like to think I went into music because I had some musical sense and good musical instincts, and I trust my instincts when making musical decisions. It always galls me to have some hierarch of authenticity tell me I'm violating the basic spirit of music when I'm determining what's best for my audience. The cult of the composer is widespread in our era, and I think it's led to a generation of conductors and performers whose highest aspiration is to be technicians, not musicians.
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Composers often complain that choirs don't perform enough new works. 
