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Thanks, I'm glad you both liked it. My main difficulty with the fugue was that since I picked to do a different counter-subject every exposition it was pretty much, well, uh, I had to get somewhat creative so it never became stale.
As far as clumsy, well, to accommodate for some of the harmonic stuff I tried to do I had to do a couple of weird jumps, though they're all Ok in theory maybe I could've done something more elegant in a couple of places. Though, as it is, I think they're barely noticeable.
I don't think fugues are the end-all baroque high-point either, but since you can do so many different things in one, it's really fun to write. I think Bach was aware of this and he wrote so many fugues because they allowed him the greatest degree of freedom compared to, say, a concerto or a mass. Also, preludes, toccatas, fantasias, it's all pretty free, so no wonder he coupled all of this together (despite the tradition, which made it sort of hard to identify when the prelude ended and where the fugue started, much like in Bach's Prelude & Fugue in E and A minor from his earlier period for organ.)
It's no surprise, then, that perhaps his most inspired work is when he's working with such freedom, that's why I refer to the organ pieces~
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