This is a very enjoyable performance of this prelude and fugue. It shows that you have put a lot of thought into your interpretation.
(Now the shoe drops
In the prelude, I would like to hear a little more clarity in the L.H. mordents in the beginning measures. Also, be sure that the first note of the mordent is as strong as or stronger than the other notes. A couple of times, the last note is getting more stress, almost giving the effect that it started before the beat. On a harpsichord or organ the notes would have been of equal strenght. The mordent allowed the creation of an accented stress where dynamics were not available.
As Chris noted, some of the rhtyhms could be a little crisper and more precise.
You have a good dynamic plan. I think that you just need to follow it with more conviction. Measure 46 in particular seems that you are unsure of how it fits -- is it part of the preceeding measures (from which the melodic figure derives) or part of the following measures? It seems a little undecided. [Wand Landowska gives a good example of conviction of interpretation. Speaking of Rosalyn Turek, she said, "She can play Bach her way. I'll play it his way."]
I like the feel of the fugue. Too me it is not too sedate. The descending chromatic figure is the Baroque "lament" motive. A possible interpretation that would give it a little more bite, as Chris noted, is to provide a little more contrast between the triplet figure and the lament motive. The triplet figure has the potential of being a little more dance-like (a gentle gigue perhaps) followed by the lament [laughing on the outside while crying on the inside.]
I would like to hear a little more rhythmic vitality in the dotted 8th - 16th bass figure in mm. 11 - 12 and other places. There it is a little difficult to discern the difference between the two lower voices.
One other thing, to me, the first 8th note "A" is the logical conclusion of the triplet figure with the lament beginning on the "&" of beat 3 so it should flow from there and not be overly stressed. The most noticeable point for me of this type of thing is from the last three 8th notes of measure 4 into the "A" of measure 5. This to me again is the logical conclusion of those 3 8ths, but it seems to boom out trying to be the beginning of the next figure, which seems to want to begin on the & of beat one.
Just some thoughts.