Thanks for the feedback Stu.
Very good job. I'm afraid that I do not find the last fugue particularly intriguing, but I do not think that it is your fault.
I hope not ! It can be played a lot more boringly than I do here
Maybe this is a fugue more exciting to play than listen to (although if that were so, it probably WOULD be my fault). I find a lot of things going on here and try to bring them out by subtle dynamics and articulation.
On the other hand, I very much enjoy the last prelude. The only negative thing I can find to say about the entire group of recordings was that I was unhappy with the transition from prelude to fugue in the last one. Another beat would have been nice, since the end of the prelude is not "big" and is actually rather abrupt.
I don't care too much for that prelude myself, somehow. I'm glad it doesn't show in the performance
Since I always record the P&F pairs in separate tracks, the gap is often quite arbitrary. I like not to have too long silence here but I will check if I've overdone (underdone?) it here.
BTW, I believe that what Riley meant by "triplet" in the third prelude was the little figure that appears off the beat consisting of two 16th notes leading to the next beat. (They're probably 16th notes. Please forgive me for not digging out the score.) Those are very well played and definitely deserve to be mentioned.
Interesting definition of triplets