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Another Interpretation!

Sounds good. But here are a few observations: In my opinion, there is little use of inverted chords. So much movement of the bass in root notes is very strict and not very melodious (it is not in keeping with the counterpoint style). There are some strange twists in some modulations. In measure 7 you have Bm - E.... and then Gm!! It's true that Gm - C - modulates to F. But that jump from E to Gm is harsh in this context. Something similar happens in bar 11: F - Em(b5) -- F# (b5) - B... to go to Em. These are progressions that appear with sudden changes and make it sound very strange. I'm not saying that this can't be written, but in this absolutely tonal context, I think it's out of style. If you do this in a contemporary language, it could work.