How 'bout Sorabji? 
I remain completely agnostic!
And, no I'm not opening up that kettle of snakes!
ETA, yeah I want to amplify a bit on Bach. No, I'm not an authority, and I'm not even a very good pianist. I mean, sure, I can play a bit, not doing the false modesty thing, but I'm not kidding anybody that I'm some big deal pianist, nor even a big deal musician. I do all right, but I'm not going to pretend I'm anywhere near some the real players who pull down more than a few bills per session.. Dig, there's Bach and then there's Bach.
Anything with three or more voices in the contrapunctal style: yes, absolutely. That's what I mean when I'm talking about spending LOTS of time working out hand movements, fingering, and making the voices clear.
But there's plenty of Bach that can just be read off the page pretty easily. Like, say, the Air from the E minor keyboard partita. Or whatever.
The D minor invention is another excellent choice. Maybe the long-ish trill in the LH could be a problem, but, there's no rule that says you can't just omit it, or get a similar effect somehow and still finish out the piece. A nice benefit is what I think as kind of a companion piece to that, another invention, this time called a "sonata" (it's a two-part invention, really) by Scarlatti, K.1. Very accessible, I would say.
BUT there's the deceptive Bach.
Look at, from WTCI, the Bb minor fugue. I think most editions have that at two pages, right? And, sure, kind of slow tempo, not too many notes. Yeah, most anyone can read that off the page. Unfortunately IME it sounds like dogsh**! At least when I do it. Yeah, when I read it at the keyboard, probably most people would say, "Hey, that sounds neat! I didn't hear a wrong note anywhere." But that doesn't mean I played it the way it should be played.
Or from the same book, the A minor fugue. Eh, yeah, sure, it's kind of pretty long, but it doesn't have too many notes, right? How hard can it be? Er....well....yeah.
Well, there's a lot of different things in Bach. Is my only point. Some of it? Absolutely! Others of it, yeah, probably the royal road to frustration. A good bit of Bach's music is stuff I'll still spend time copying out the parts by hand or in notation software. I'll be honest, it can take a lot of time and it may not be worth it to you to spend a year breaking down a score that, probably most of your audience would just say, "Hey, that's neat! Do you know that 'song' from the cartoon with the cat and the mouse?"
But maybe a saving grace is for some of the Toccatas or Fantasies: a lot of that stuff you can just kind of read the structure off the page, and, well, fake it a bit. A whole lot of JS's stuff is more or less improvisational, similar to some of in Mozart. "All right, dig, give me sixteen bars on the tonic, a few flourishes, then hit me with the diminished chord, and hit the theme again! Go!"