Thanks for listening and for the compliments and comments.
I believe you can more prominently etch with the RH thumb the inner scalar line, G, A, B, C and C#.
Yes, I would like to make the thumb slightly more prominent throughout.
In measure 17, I suggest that you maintain forward motion in tempo. Then when you play the slentando in measure 18, it will occur as written and will be much more differentiated, meaningful and effective.
Interesting, although my score shows the slentando in measure 17, not 18.
You've made an "emendation" to the score in measure 17 by playing the B octave one octave lower than written with a fairly big crash as well. The problem as I hear it is that the effect is simply too much given the character and context of the rest of the piece.
I'm actually surprised you're the first person to mention this. I thought I would be flayed by the purists out there I don't know, I guess after playing this piece for years, I would say that the regular octave doesn't do it for me any more. I think the low octave provides much more dramatic fire at the climax (it's an idea I admittedly stole from Cortot).