Prelude and Fugue in A major

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Prelude: A 'bizzare nocturne-barcarolle' of 'a prelude' (to quote). The form is best described as ABABACCoda, although I would plead the case that the material in C is closely related to that of B in the way it moves against the circle of fifths (or along the circle of fourths; the exact terminology is of no concern). The pianist for this recording is the user Ian on this website; I am in no way to receive any praise for or criticism (if any) of it.

Fugue: Neither grandiose in form nor harmony, the fugue has the rhythms and phrases characteristic of a gigue; it stands in direct contrast to the ungainly but unhurried step of the prelude. Of the four stretti in the piece it is interesting to note that every even-numbered stretto is odd: both have entries which are separated by a bar, and the latter pairs the subject proper with its inversion; also, that the inner two are dialogues between the two high voices (the soprano and the alto) with the bass acting as a pedal point, whereas the outer two concern the two low voices (which are, of course, the bass and the alto); the order of entry of voices is reversed in the latter stretto of each pair. Bars 55-76 and bars 77-88 are somewhat analogous, with the only difference is that the stretto comes after the middle entry in the latter. Careful inspection would reveal bars 35-44 as an 'inverted' counter-exposition of sorts: the 'answer', given note-for-note as the tonal answer transposed to its relative minor, precedes the 'subject'. Bars 25-28 and bars 116-120 clearly take after the prelude's C section with its traversing of the circle of fifths. As usual with all other structures that come not from design or cogitation, but from intuition, this description is probably best taken with a pinch of salt, for what is there to account of coincidences, however elegant?