In the twenty-first century, however, Bach scholarship has moved away from any consensus regarding a violin original. In 2016, for example, two leading Bach scholars, Christoph Wolff and Gregory Butler, both published independently conducted research that led each to conclude that the original form of BWV 1052 was an organ concerto composed within the first few years of Bach's tenure in Leipzig. (Previous scholarship often held that Bach composed the original in Weimar or Cöthen.) Both relate the work to performances by Bach of concerted movements for organ and orchestra in Dresden and Leipzig. Wolff also details why the violinistic figuration in the harpsichord part does not demonstrate that it is a transcription from a previous violin part; for one thing, the "extended and extreme passagework" in the solo part "cannot be found in any of Bach's violin concertos"; for another, he points to other relevant Bach keyboard works that "display direct translations of characteristic violin figuration into idiomatic passagework for the keyboard." Also Peter Wollny disagrees with the hypothesis that the works was originally a violin concerto.