[Aidevah]

This is partly true. Mendelssohn brought back the great religious works of Bach into the public consciousness (79 years after Bach's death, not 50 years). However, Bach was by no means unknown among the professional musicians, though his fame was of course eclipsed by his sons. If there was anyone who surveyed the breadth of music in the late 18th century, it was Burney, and he gave a very sympathetic treatment of Bach in his General History of Music. The young Beethoven was famous partly for being able to play the entire Well-Tempered Keyboard from memory, and his Op 120 variations were unmistakably composed with Bach's Goldberg variations in mind.

Mozart, who was himself a great master of counterpoint, was understandably delighted by the Bach fugues that Baron Van Swieten showed him. Mozart was of course very heavily indebted to Johann Christian, but several pieces were clearly homages to the elder Bach; the subject from the K. 394 fugue was clearly derived from the first of the WTK, and the K. 574 Gigue (composed in Leipzig, no less) is obviously Bachian pastiche. The armoured men chorus from the Magic Flute sets a protestant chorale (often used by Bach) in a Bachian setting. That's not to mention the string quartet arrangements of Bach's fugues that Mozart made.