Thank you for your encouragement!

Thank you for listening! It is really a wonderful transcription.

Thank you! The transcriber is Selmar Bagge, a 19th century German composer. You can find the score in the description and a short bio on Wikipedia.

I wondered about that too, i.e. why different keys should feel different in equal temperament (my ears are not very sensitive but I can tell there's a difference between E major and A-flat major). I'm curious - when you use A=415 with some Baroque temperament, does E major still sound bright to you or does it sound more as if it were E-flat major in A=440? This movement took me about two weeks. Luckily most leaps are followed by-step, unlike the opening chorus which is so far the most difficult for me. (Among those that I can play; I believe several movements are beyond my reach).

@@RuoshiSun That's a great question. In comparing equal temperament with A=440 and A=415, there's definitely a difference in how I perceive the keys. Despite the amount of early music I listen to, I "think" in A=440, so if a piece is in E-flat major with A=415, I'll feel it in D-major. What's even weirder is that with some French baroque music, they tune to A=392, which is about a whole step down from A=440, and I feel like the music is a whole step lower than what is written in the score. What's even weirder is that I know that I don't have perfect/absolute pitch, but for certain instruments I can tell what pitch is being played, but according to A=440 tuning. This could be a possibly contentious opinion, but for this reason I prefer music at A=440 because then when I follow along with the score, everything makes sense. I've even used audacity to pitch-shift pieces to A=440, which does (to me) change the key, and does somewhat change the character of the piece in my mind. The "characters" of different keys are probably subjective, but I'd be interested to hear what other people think of this.