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Ultimately, I don’t mind if the answer is “we don’t really know, but this is how we’ve been doing it for the last hundred years or so,” but I’d at least like to make an attempt to interpret the music as originally intended. Of course, I’m assuming there must have been some sort of LH support, or maybe figured bass-type notation typical of the late-baroque period – maybe my modern sensibilities have it completely wrong and it really should be played as a single melody line shared over two hands?