I've listened to your pieces several times but just now have had the opportunity to write.
I have to agree with Chris that it is difficult to call the "Joyous Fugue" a fugue. It does have moments that are remeniscent of the fugue, but it lacks the development that one expects. Also it switches between two and three voices with now formal musical "explaination" for the voice -- it does not announce the subject so it is not the third voice of a fugue. Of course all of that said, the piece is still enjoyable and well thought out.
One could possibly consider it an "invention" which follows fugal ideas but much more freely. "Joyous Invention" would be a good title.
If you are interested in fugue, one of your best "textbooks" are the 48 fugues in "The Well Tempered Clavier". An interesting web site that can give you some incite into them is http://www2.nau.edu/tas3/wtc/
by a professor of music at Northern Arizona University. His analyses go beyond the dry, pendantic "now his cadence was built from an X chord followed by Y and Z with an ornamental gerbil in the melody at the penultimate harmony."
The Scarlatti influence on your sonata is quite apparent and helps you create a fresh and interesting work.
My main criticism is that you should get better recordings of both pieces. You have two lovely works that are not shown at their best. First, there is too much pedal for the character of these pieces. Both have a joyous, dance-like feel that needs the rhythmic vitality. Too much pedal can sap that vitality -- the pedal blur obscures the attacks. Second, partcularly in the sonata, some notes, particularly in the upper voice, do not sound at the same level as those around them. They sound almost like they were dropped, though there is a residue of the intended sound. More precision and evenness of sound quality will also help the rhythmic vitality of the performance. Finally, particularly in the fugue, there were some tempo variations that did not occur at logical points -- it simply sped up or slowed down but did not feel intentional.
I hope that these suggestions give you some ideas for your future projects. I truly enjoyed these two pieces and, with your permission, may incorporate them in my prelude or offertory at church. I think that they would work well as such. I look forward to hearing more of your work.