Ocena oryginalności dzieł artystycznych – utworów muzycznych, malarskich czy architektonicznych – wciąż się zmienia. I bywa motywowana ideologicznie.

Organy zaczęły być stosowane w Europie w liturgii od wczesnego średniowiecza i aż do oświecenia postrzegane były jako wyjątkowy instrument o charakterze sakralnym, którego dźwięki oddawały wieczne trwanie boskich praw.

Różne były motywy fałszerstw w muzyce XIX i XX wieku: chęć zwrócenia uwagi na zapomnianego kompozytora lub zapomnianą epokę muzyczną, zażartowania z odbiorcy lub stworzenia repertuaru na rzadki instrument. Łączy je to, że utrwalają się w pamięci słuchaczy i są traktowane przez nich często jako prawda, a nie fałsz.

The year 1933, which marked the 15th anniversary of Polish independence, also saw the celebrations of the 400th birthday of Stefan Batory and the 250th anniversary of the Relief of Vienna led by King Jan III Sobieski. Both events allowed for a wide campaign of propaganda for the Sanation movement’s updated political programme, clad in historical analogies, especially in the context of Eastern policy. For this reason, the ceremonies organized in the Borderlands, a particular lieux de mémoire associated with great kings, who were seen in official historical politics as natural harbingers of Józef Piłsudski, took on a special character. This provided an excellent opportunity for the propaganda of the Polish civilizing mission in the East and the promotion of the idea of Poland as a superpower. The main ceremonies commemorating Stefan Batory were organized in Grodno, where the monarch died in the historic castle in 1586. These celebrations, broadcast by radio and widely reported by the press, were attended by President Ignacy Mościcki and many national and local dignitaries, ministers, senators, deputies, voivodes, bishops, generals etc. Lavish occasional decorations, saturated with specific symbolism, were set up as modernized late 16th-century architectural stylizations. The activities of the Grodno Castle reconstruction committee were officially inaugurated on the 350th anniversary of Batory’s death. Even more magnificent were the two-day festivities commemorating the Victory at Vienna organized in Olesko, which overshadowed the central celebrations in Kraków. The programme of the ceremony proclaimed that “a deed of European importance – by King Jan III and the then-superpower Poland – must be reflected by a programme of celebrations of its 250-year anniversary on a superpower scale”. An extensive open-air spectacle was organized with the participation of thousands of extras, including soldiers in historical costumes, several hundred fire brigades, scouts and aviation squadrons. Particularly spectacular was the especially arranged musical performance combined with night illuminations. These celebrations were enhanced by other accompanying events such as the Star Automobile and Motorcycle Rally and the sightseeing rally On the Trail of Sobieski. In other Borderland towns such as Tarnopol the jubilee was celebrated on a smaller scale, where a number of outdoor events were organized under the umbrella name Harvest Festival of King Jan III and the Arrival of the Austrian Emperor’s Legation with a Request for the Relief of Vienna.

Church organs began to be used in the liturgy in Europe from the Early Middle Ages, and all the way until the Enlightenment they were seen as an exceptional instrument of a sacred nature whose very sound paid eternal homage to divine laws.

The process of authenticating artworks, whether musical, painting or architectural, is constantly changing. And sometimes it is influenced by ideology.