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I like it overall, but there are a few twists that make it sound non-Bachian in spots - that - I dont know how to say, inflection, around 3-4 seconds in. Somewhat modern. It's not bad per se to my ear, and if I had written it, I'd like it and be loathe to lose it. But as an outsider, it mars the symmetry, the bland perfection of it in some ways. Basically, the more boring it is, the more normal it sounds. The more interesting it is, the more it sticks out like something you want to hammer flat. If the inflections were more consistent, they would define the piece and sound fine. But as it is, they jar slightly against the perfection of the rest of it (I dont mean lack of mistakes, I mean the way it sounds professional). I'd be proud of it if I were you.

Let's be clear ! first of all the harmonic and counterpoint rules you describe concern a little part of music history ( let's say the baroque and classical periods). Unfortunately school & conservatory classes are based on tonal harmonic and counterpoint methods that apply rules extracted from the music of 17th and 18th century ! Did you know J.S Bach never wrote a "scholastic fugue" ? No ! however all the fugues he wrote were fantastic ! at the end of the 19th century, do you think Claude Debussy took care about paralell octaves and fifths ? no ! Do you think modal music from antic period to renaissance respected the rules you are talking about for many centuries ? No ! Guys, the great composers always used the "exception" that makes a composition unique !