Here is a publication that springs from the spirit of Baroque transcription practice at its best. In our case, it also goes hand in hand with a reconstruction made with scholarly precision. As to the choice of the key, editor Klaus Hofmann decided against C minor, which the previous generation had preferred, and turned instead to D minor that Max Schneider had chosen back in 1921. The fruit of Siegfried Petrenz’s labor is an inspired, transparent "Clavier" reduction (EB 8662) that is amazingly f...