Prevailing wisdom tells you that when playing a fugue, one should always bring out the subject. I suppose the logic is ironclad: the whole point of a fugue is to have the main theme/subject weave itself in and out horizontally while 3-5 voices weave in and out of themselves vertically.
But I wonder if this way of playing a fugue defeats the purpose.
Isn't the genius of Bach that he could combine the subject and independent material in remarkable ways? It's more that he hides the subject? So if we're constantly pointing out the subject, we're working against the genius of his polyphonic writing.
I like to make the appearance of the subject much more subtle, and bring out the top voice more often than not. Give the audience some credit: most will know what they're listening for, and will search for it anyway. We don't have to hit them over the head with the subject. Even for the audience without significant musical training: fugues are set up that they get to hear the subject alone to begin the movement, then hear it flow from one voice to the next. Given just a little musical ear, and they understand this concept, and will track it as the texture becomes more complex. To me, this unveils a much greater, more subtle form of compositional genius.
"Modern performers seem to regard their performances as texts rather than acts, and to prepare for them with the same goal as present-day textual editors: to clear away accretions. Not that this is not a laudable and necessary step; but what is an ultimate step for an editor should be only a first step for a performer, as the very temporal relationship between the functions of editing and performing already suggests." -Richard Taruskin, Text and Act