I join Joe and Chris in bluntness. Believe it or not, it makes no difference if you play Bach on a piano, a harphsichord, a cello, a harp, a guitar, with a string quartet, a brass choir or an orchestra. Rhythm is rhythm, meter is meter, tempo is tempo and rubato is rubato. The same interpretation is possible (within mechanical capability) with all of them. I'm afraid you have gone over to the dark side
and have become intoxicated with your notions. You will have a VERY small set of appreciating auditors given the extremes you are practicing - It is just too odd for folks with predictable heartbeats and rhythm-of-gait to appreciate. Your new-styled performances would not be acceptable for admission to any serious music school. In the course of music history, each of the elements of music have gone through a process of change, extension, and increasing complexity. Melodies have changed their character; rhythm and meter became more complex, displaced and fragmented. Harmonies went from the very simple to the complex, to the cluster, to the indeterminate. Compositions have gone from those defined and created by the composer, to the extremely mathematical, to the null set of abandoned art with stochastic, chance and ambient-noise "music." But through it all, temporal proportions have remained true to their referent
. As I argued elsewhere, the practice of notes inégales
in the French Baroque, never gives permision to distort the very fabric of time with pliable/oscillating meter or to re-write [melodic] rhythms as you desire. You are putting mustaches and goatees on great musical works of art a la
Duchamps' Readymades. Perhaps you should take up chess even as he did. I think it would be helpful for you to approach music more as a composer
, and think of others taking the liberties with your compositions. If you were like Bach, detailed in the defining of the meter, every pitch and every rhythm, you might be outraged at the distortion produced ... or might feel that the performer had a poor internal clock. Hopefully, this is just some phase that you will work through (the Prodigal Son in "a far country") and in the end your pendulum will be more properly aligned. Having said all this, I will add that I found your Gigue very acceptable - but then it offers you the least potential for modification.
Application of notes inégales to contemporary performance of music not written in France, for example the music of J.S. Bach, is extremely controversial, and indeed resulted in one of the most heated debates in 20th-century musicology.