So in the beginning, the first two measures are fine. You do a very little accent on the downbeat. As if to signal the dancers when to start their next move or something. But then the next six measures of the intro, you do it on the second beat. So on the third measure, you accent the first chord. The fourth you accent the G. The fifth you accent the Eb. The sixth, you accent the little frilly thing, etc... And not only is it inconsistent with what you did on the first two measures, it's a dance so you have to signal the downbeat. So starting from the third, try accenting the first note of every measure.
as for consistency, you decide to play the last three notes of the main melody staccato; I do it as well. But later on, you're not completely consistent with that decision. Sometimes you decide to play the whole thing legato, then go back to playing the last three notes staccato like you did in the beginning, and sometimes it's a hybrid of both staccato and legato. I think it's called legatimo or something. No but yeah, try to keep the way you play the main melody consistent with the way you decide to play it at first. Whether you play it all legato, staccato, or in between, doesn't really matter. As long as it's consistent through out the piece. But wait a second... After the intro, there's no rest! You have to play an extra note! So you can decide whether or not to detach that note from the rest of the melody. But what you decide has to be consistent with everything else.
As for technique, I know that you know that left hand and right hand weren't even all the time. So I'll leave that up to you. But some parts are slightly choppy. More the 16th notes than the 8th notes. SO... This is what you do... Once you get that downbeat stuff on lock, you can take a tiny break before you continue playing the rest of the measure. It's so minuscule that nobody can notice it. Of course you'll notice it because you're the one that's actually taking the break! But yeah, since it's the down beat, you can take a very tiny break and then you'll have more time to position yourself for the rest of the passage. It's small, but IT MATTERS. That's what I did, and it helped out with technique issues quite a bit.
No but yeah, those are just my thoughts. You can heed me or (a homophone antonym for heed) me... Something like that, I don't know dude... Hope I explained myself well!
Oh and I really liked how you slowed down on measure 17! Like legit, I thought that was good. What fingering do you use there? Because I had problems executing that technically until I switched fingerings. And out of curiosity, what do you use for the right hand of measures 13, and 14?
Topic: Bach WTC Prelude No. 17 in A-flat major