Bach, Straube - Prelude and Fugue b minor BWV 544

In 1903, Karl Straube (1873-1850) became organist at St. Thomas Church in Leipzig and thus Bach's successor. Under the impression of the "Sauer-sound" of the large organ from 1886-'88, which is still in the church today, he worked on new Bach editions in 1913, which provide a wonderful insight into the Bach tradition, reception and current interpretation of that time.
I think, regardless of "right" and "wrong" judgements, these "versions" of Bach's organ works create a wonderful, devotional atmosphere in its own serious aesthetic.
The first, Straube-version, of which you can read the score in the upper half of the screen, is played by Dean Billmeyer. Andreas Fischer plays the Bärenreiter-Urtext version of the piece on the Flentrop-organ (2013) in the St. Katharinen church in Hamburg, Germany.

00:00 Title
Straube
00:06 Prelude
09:12 Fugue
Urtext
17:00 Prelude
24:24 Fugue

Straube provides many footnotes in his edition. I have listed those relating to the musical perception of Bach's music here:

(Prelude)
A) The best thing that could be said about this piece was said by Philipp Spitta in his "Johann Sebastian Bach": "In the Praeludium and Fugue in B minor, he strikes a deeply elegiac tone that we do not find so intensely in Bach's organ works. The delicate and dense weave of the Praeludium leads into romantic labyrinths that no new composer could have invented more enchantingly. The fugue flows quietly and melancholically. The fact that Bach was able to capture this mood in an organ piece of the strictest style and maintain it with equal vigour in the greatest proportions would alone make him worthy of everlasting fame."
M) (…) During the last five bars, a moderate increase in sound and movement leads to the middle section of the development section. The harsh tonal language of this section demands powerful rigour of expression. From the melancholy of the beginning, Bach has led us up into the emotional sphere of defiant perseverance against external and internal resistance by carefully chaining together the emotional relationships. (…)
P) The first of three thirty-second notes is to be marked. The wonderful melody of the upper voice begins with a heavy halt, only to sink back in the following bars from the agitated restlessness of the middle movement into the quiet melancholy of the beginning.
T) The introverted, restrained pain of this epilogue allows the deep lament of the prelude to be heard once again, as if in a dream, surrounded by a veil of gentle sounds, before sinking shadow-like into nothingness._ And then the fugue raises its weary, dull, almost motionless song of earthly suffering and homesickness.

(Fugue)
A) The phrasing of the upper voice demands precise attention; only in this way do theme and counterpoint stand in opposition to each other as individual entities.
C) (…) The intermezzo of these twelve bars would be incomprehensible if we did not see in the playing grace of the semiquavers the smile of a ray of sunshine that breaks through the grey mist to transfigure the clouds of heavy gloom. The inner progression of the piece turns away from the grey melancholy of weary resignation to gradually arrive at an almost defiant affirmation of life. This liberating growth of emotions will find its natural musical expression in a steady increase in dynamic and agogic means. The artistically convincing utilisation of these means of expression must be left to the performer's personal culture and musical education.
G) In order to save the meaningful interjections in the middle voice, I would like to recommend the following version: (…) This suggestion has logical flaws, but gives the opportunity to emphasise the third theme in something.
H) Bach symbolises the inner reversal of the piece through the visionary sound of the floating semiquaver motif; he prepares the highest climax through the re-entry of the same figure. But just as the whole leads upwards to the heights of spiritual consciousness, so the motif, which once only flashed and then sank again, has now attained power of expression and greatness of form. It is intended to lead over to the tremendous progress of the bass, who appears willing to force heaven's highest peak in the regularity of his steps, and the upper voice takes over the continuation of the theme from the bass in the closest connection. The gigantic ascent from the low F sharp of the pedal to the & of the manuals must be emphasised in overwhelming grandeur.
J) The upper voice takes over the continuation of the theme from the bass in the closest connection. The gigantic ascent from the low F sharp of the pedal to the g'' of the manuals must be emphasised to an overwhelming extent.

Audio Sources:
(Str) BWV 544.1:    • Präludium und Fuge h-Moll BWV 544: 1....  
(Str) BWV 544.2:    • Präludium und Fuge h-Moll BWV 544: 2....  
(Bach) BWV 544:    • Andreas Fischer spielt J.S.Bach: Prae...