Thanks for listening and for your kind words.
For the future, if you're interested, I'd suggest you to take a look at baroque articulation. There are several possibilities for articulation according to historical treatises (Couperin's, Quantz's, CPE Bach's...), but they are based on some "rules", like:
1) shorter intervals are played legato, while longer intervals are played detached
2) the good notes (strong beats) are played dettached from the last bad note (weak beats). This applies also to 'levares' and 'figura corta' (like the C-B-C from the Cm fugue of the WTC1). This is the only way to accentuate the good notes on a harpsichord. On the piano, we can can accentuate them by the dynamics, but that doesn't mean we should apply this articulation, which was typical in the Baroque era, besides it was also used when playing on a clavichord, which does have dynamics.
While I think the subject of touch in Bach can sometimes get a bit overly academic, it definitely is something I would like to look into further at some point, so thanks for the detailed remarks. I tried to follow the marks in my Alfred edition, though sometimes the slurs and accents there seemed strange, such as in the Gavotte. I haven't heard of Quantz, though I like the name.
For your future Bach recordings, I'd also suggest you to consider playing allemandes more slowly. In the beginning of the Baroque, in Frech, allemandes were played much faster. But then, by the end of the Baroque, in Bach's time, in Germany, the allemandes are very slow dances, though not as slow as a sarabande.
On the other hand, you have a good tempo for the Aria. Most pianists play this Aria extremely fast, not considering that an "aria" is supposed to be sang. If you try to sing this aria, you'll see there is a limit for the tempo: it's not possible to sing it too fast.
Good points about tempo. Thanks for the info distinguishing between the French and German conceptions of the Allemande, which I wasn't aware of. I actually wavered back and forth in deciding on the tempo for the Allemande. In the end, I thought a somewhat faster tempo would aid in bringing out the voices better, though I also very much like slower, more lyrical readings of this piece.