Yikes, Dr. Rogers, what are you doing with those 19th-century editions?? You use that to teach?
I'm gleaning interpretive ideas from them. I'm not a Baroque purist, and while I do think we should keep Baroque practice and instrumental limitations in mind, I do not consider myself bound by them. (What I won't do is use the damper pedal. I wouldn't rule it out for very, very rare use, but generally I keep my foot away from it.)
I'm not a big fan of most of those old editions, with the exception of Busoni. I like most of Busoni's interpretations, but again, I do not feel myself bound by them. Another 19th-century editor to whom I sometimes refer is Preston Ware Orem, though I generally prefer Busoni.
I usually teach from Henle or from my own settings, but I extract ideas from those 19th-century editions and pencil them in on the Urtext.
What I would do is to start a ritardando on the first two triplets all the way to the end. It might be too "Romantic" for some Baroque purists, but I think the tempo and mood of this piece would make a ritardando sound good.
I think I agree with you on this. That's probably how I'll approach it with her.
The Palmer edition suggests that the 2-against-3 rhythm could be played as is, even though it's very rare. So I guess you could use this piece to teach polyrhythm.
One of these days I should get the Palmer edition of the Preludes. I have a soft spot for Professor Palmer. And I actually knew his son for some years before I realized that his father was the