The ending was beautiful. Now, let's talk about what wasn't so beautiful.
I think your rhythm could use some polishing. The ninth full measure features quintuplets in the right hand. This was a major dilemma for you, I think. Most of the time you had polyrhythms, you did not play evenly, which I think detracted somewhat from your lyricism, which, I must say, is excellent.
I think if you want a 'rubato' effect, you must apply it evenly, so that you don't run into sections where the rhythm is clearly distorted. Rubato and distortion are not the same thing. Think of a train on the tracks...if it slows down subtly and evenly, and speeds up subtly, which a person can sleep through. This is far different from someone learning to drive a stick-shift for the first time, and failing to gas/clutch in first gear properly.
Measure 14 poses 8th notes descending. You pause extensively on the third note. I actually didn't mind this. It was consitent and lyrical, and while not the way I would probably interpret it, it certainly had its own advantages and qualities that I can appreciate.
Measure 19 has an 8th rest followed by 4 16th notes and an 8th note. When you play these five notes, you have to go all the way to the 8th note. You can't stop on the last 16th. This is one case where I do not support the random pausing on particular notes, because the lyrical lines goes to the 8th note. While, in the previous example, you could pause and work a different quality out of the piece, I don't feel this effect is a 'good' thing in this latter case. (This pattern of five notes repeats itself throughout the piece, as in the previous example.)
Also, take note of certain spots in the left hand with double-inverted stems (two stems on one note). Usually this occurs with a run in the right hand. You want to bring these notes out. They are the important notes that subtly change the piece like the train on the tracks.
At the agitato, the uneven disquality in your playing was really apparent...particularly in the left hand, and in the right hand syncopated rhythms below the melody. Evening this out would
greatly enhance your performance. Then, let it take the background and bring out the melody again like you do now. (With the uneven disquality, you get stuck on the unevenness, trying to find the rhythm through the melody...but evened out, a person is free to appreciate the melody proper.)
VERY nice transition into Tempo 1.
(Note the five-note pattern that repeats in the second measure of the tempo 1...you actually played it much better on this occasion than on any other occasion.)
And again, very nice ending.
Good recordings! I'm glad you insisted I listen to the nocturnes. Now...give me more.
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