Schenker understood predominant approaches to the performance of music to be laden with superficial concerns connected more with virtuosity than interpretation. In the posthumously published The Art of Performance (2000) Schenker reveals the value of a deep understanding of a work and provides practical methods for demonstrating such an understanding in a performance, which shows how greatly he valued the integration of interpretation with performance. Recently revealed late manuscript material (1932-33) for Heinrich Schenker's seminal treatise, Der freie Satz housed in the collection of the Austrian National Library contains material that differs from what was actually printed, with some passages completely left out. Interesting and important comments on fugue omitted between paragraphs 32 and 33 of the final version of Der freie Satz provide the context for this discussion of the performance and analysis of the c-minor fugue (#2) from Book I of Bach's Well-Tempered Clavier. This study takes Schenker's comments concerning the analysis and performance of fugues as a point of departure for the examination of three performances of the c-minor fugue. Despite 8 instances of the subject, monotony can be avoided through the motivic development present in the work. Recordings of the fugue by Edwin Fischer, Glenn Gould, and Daniel Barenboim will be shown to do one of the following: 1) over-emphasize subject entries 2) underemphasize the more structurally significant entries of the subject or 3) effectively articulate the more structurally significant entries of the subject in service of the tonal prolongations, thus presenting convincing or unconvincing performances of the piece.