I just listened to all of your pieces. In general, I believe that your playing continues to improve noticeably!
The Schumann scene is lovely. This rendition is not at all meter-driven. It is pleasant, more relaxed, vibrant and touching. Great!
I also liked the Scriabin prelude. You played the piece with expressiveness. That is also progress--that is being less uptight about the mechanics of the piece and entering more into the realm of emotive musicality. I liked your portato touch at the ends of all the phrases. Just a couple of things for your consideration: First, sotto voce, as you know, is "in a low voice". It's not a whisper exactly, but it should sound like an undertone in the musical utterance. I would maintain that all the way to the cresc. in line three. I know that the Geyer can be quite contrary, but you're controlling your tone so much better now, despite the piano's shortcomings, that you might be able to muffle the sound a little more. The only other point I would make is in measure 8. The third beat rhythm in the RH sounds a bit awry to me. The only thing different about it as compared to similar preceding measures is that the figure contains the F-A flat double notes prior to the final 16th note. I'd try to fit it in better and iron out the figure a bit more.
Here is a trick your teacher probably mentioned, but I repeat it to be helpful, as this Scriabin prelude is a good illustration. At the end of each measure here you have in the RH a third beat group consisting of an 8th, a dotted 8th, and a 16th note. Visually the eye takes that in as a group where the last 16th is a solid, cohesive member. In fact it is. However, the ear has a different perception than the eye in that respect. That is to say, to the ear, in the aural-spacial sense, the 16th is closer to, or "belongs" more to the quarter note in the downbeat of the next measure. If you artificially think of the construct that way--the 16th actually being more proximate to and belonging more to the quarter note, it's easier to execute its value and timing more precisely. If you think of it that way with the metronome going, you'll see what I mean.
The waltz is easy listening and delightful in its way. I would lighten up the LH though to give the waltz a more lilting and less heavy feel to it. But you're the artist, so it's up to you. OK, as for the "Unknown", I will guess that he is actually the extraordinarily famous Anonymous who probably wrote more works than most known composers. Am I correct?