thank you for your interesting and detailed thoughts. I also edit my recordings here and there by doing cuts (that means from time to time I cut out a passage f.ex. which contains a slip or a wrong note by another, which is correctly played). Though I proudly can tell you, that my last two recordings (prelude and fuge d-sharp-minor and f-minor of WTCII) have absolutely not cuts and they are made in just one take!
I think, so it has to be in the ideal case, and in future I want to do all my recordings without cuts, except of avoiding a page-turn (at least I want to try that). I`m personally on the "natural trip", that means I want my recording being kept as natural as possible in a high quality. I am restarting to record me again with 192 Khz and 32 bit float and I want to produce a DVD-Audio of the WTC II in that sample-rate (192 Khz). I also have some high-end speakers and amplifier, so that I truely can hear the difference between a normal CD-recording of 44 Khz and one with 96 or 192 Khz. I also do always video-tapes of my recordings, so that everyone can see, that it´s me life who is playing. You can easily see cut in my recording by a change of the camera-angle in the video, because this is necessary to do, when doing a cut in the recording, otherwise you will have a hitch in the picture. (You also can see, that in my last two recordings there is always the same camera-angle, what can be taken as proof, that there are no cuts in them.) When I do cuts, it means not always, that I have played something wrong, it also often is simply a page-turn, which I don´t want to be heard. So I stop, turn the page, and continue on the next page, and I join the two parts together in my recording. I don´t feel that to be something "bad" or "not decent".
But I also like your MIDI-recordings very much. To what I have listen all has a good and convincing concept, it sounds musically and expressively, so it sounds as if someone would have played "life" and with feeling (sensation) (except from the trills, which are not possible to be played as perfectly in reality, I think). For me that´s the main thing. Your recordings of WTC I musically are very inspiring! I never would have thought, that MIDI can reach such an "authentic" and good quality and I´m not able to produce such MIDI-interpretations (because I haven´t the knowledge, and I have to admit I personally am striving for the "natural method" as I have explained above, and I want to improve my abilities in that natural and direct method, which has the motto "as unedited as possible").
So, I would come to the conclusion, that nowadays there simply exist two (repective three) methods: the old, "natural" one, totally unedited and the new "totally edited" one, for which your MIDI-recordings are an example. The third method are all the nuances between, let´s say "half edited" recordings, which we normally do to avoid page-turns, cut out slips or wrong notes, adding of reverberation, equalizer etc.
All three methods have their good right to exist in my opinion, if the products are pianistic, musical and adequate to the composers intention. One may prefer the one or the other. F.ex. I personally would prefer a musical sounding MIDI-performance (like yours) to an unmusical "normal" performance.
By the way, nearly 20 years ago I was at a concert in a little barn nearby Neuss, where Andras Schiff played the whole WTC I by heart in one evening. This really was a "formative" event for me. I can´t remember that he made just one mistake or slip, it was perfect, notewise and musically! But, of course, the WTC II still is more complex. I don´t find it too bad, if a pianist improvises, when he comes out of the piece, that sometimes can be more interesting than to listen to the original.
Would be nice to continue our interesting dialogue also in future!