I bought a version edited by Czerny by mistake, but it had all the editing which I don't want. Is the ABRSM version ok?

http://www.abrsmpublishing.com/publications/1781

The ABRSM version is excellent - one of the best. The fingerings are good and the notes are helpful.

You cant beat the ABRSM one. Afew years ago I replaced my well used a battered copies with ABRSM's posh hardback versions in grey with silver lettering.

I have the Schirmer Classics Books 1 & 2 edited by Carl Czerny and they are very good. I've not seen the ABRSM version so cannot comment. The Czerny version has not caused me any problems and I can play some 46 of the preludes and fuges from Bks 1 & 2 quite fluently. I recently emailed Angela Hewitt about WTC versions and surprisingly she (or her agent) replied saying she used the Schirmer/Czerny version) If it's good enough for AH it's OK for me!

My old one was Schirmer (see above). I prefer ABRSM's.
Also I have found some Schrimers editions arenot bound very well and fall apart earlier than they should. This happened to my Schubert Sonatas.

I would agree with you on this. Mine are beginning to fall apart through constant page turning and 'flattening'. I don't think the quality of the paper and/or covers is as good as it used to be.

If you are looking for a completely clean edition, you could look at the two volumes of the Konemann Urtext. No fingerings, no phrasings, no added touch or dynamic markings, or fake tempo indications. Nothing. Just the notes.

I recently bought them. It is too soon to say how hard-wearing it will be, but my Part 1 has travelled with me daily for the last six months and shows virtualy no signs of wear. The paper is a little rough, but otherwise of good quality, the printing is clear, and the layout is well thought out. The binding looks good. I expect it will be at least as hard wearing as my tattered old AB edition.

Have you seen the Bärenreiter edition? As with the rest of the Neue Bach-Ausgabe, if Bach didn't write it on the page, it's not there. Ornamentation is preserved as it was originally written, rather than subsituting either a similar modern ornament or an editorial realisation if the symbol isn't in modern usage. I have never understood why an editor would butcher the original ornaments in music such as this - finding out what a unfamiliar symbol means is surely the least tricky part of learning Das WTK, Die Partiten, Die Goldberg-Variationen....