No. 1: nicely played, one could bring out a bit more the melody line, but that´s a matter of taste. You always ignore the first ritardando, the second you play each time in different ways, which is a possibility. I usually play the ritardando only up to the fermata, in every case the upbeat to the continuation of the melody should be again a tempo (you don´t do that the first time).l
No. 2: also nicely played, to play the quarter after the dotted rhythm always staccato is an interesting interpretation, though I don´t think, Schumann has intended that, because he never has written a staccato point here, so that from a severe view these quarters always should be played in the normal length of a quarter. The first piano after the thin double “strich” should be very soft and an audible dynamical difference to what is played before.
No. 3: that´s indeed a nice version, may be the accents could be played out a bit more, so that the whole piece sounds more exciting, like a real hunt.
No. 4: the second and the third time there is nearly no contrast between the p and the pp, the first time is much better. Apart from that a nice version.
No. 5: nicely played, but there could be more conscious voicing (in the repeat I thought to hear a bit of that) concerning the motif-dialogues between soprano and tenor.
No. 6: dynamically that´s not played “important” enough: it should be more forte and decisive.
No. 7: you seem to have fallen in love with the sixth-chords here: you play one in bar 11 and 15 each on the third beat instead of a quart-sixth-chord. There are nice moments in it, but in summary it could be more dreamy and I miss conscious voicing respective interpretation of the motif-playings, which are extremely important and beautiful in that piece IMHO.
No. 8: that´s a quite nice version, you play it narratively like it should be, the accents could be played out a bit more.
No. 9: here the vocing is extremely important, from bar 1-4 the melody has to be underlined, from bar 5-8 the tenor voice. From bar 9-15 f.ex. the first time the melody in the soprano (which I don´t hear enough hear in your version) during the repeat one could underline more the bass voice, from bar 16-end the tenor voice is the important one!
No. 10: I have not the two last bars on the audio-file, but that could also be from my bad download possibilities here on the camping. I really like your tempo here a lot and you bring out that serious character very well! Most pianists play these phrases with more dramatic, rubato and expression, but I think, that´s a quite “philosophical” piece, I do a bit more expression here, but this quite emotionless interpretation seems convincing to me.
No. 11: this piece also could endure more voicing. Very important are the chromatic progressions, which express the fear respective uncertainity. The fast passages could be more pp and they should sound very scurrying (fliting) (like something or someone indefinable , which (who) causes fear. In every case the melody has to bring out much more at some places.
No. 12: nicely played, in the last chord there is to few of the third (it sounds nearly like a hollow quint.
No. 13: for me that´s the most demanding and important piece of the whole Kinderszenen cycle (and for me it´s one of the most important piece at all!). It should be very poetic and philosophical in a certain way. I think, you haven´t yet reached that character too much. The contrast between p and pp has to be very evident. In bar 3 and 6 you should play out the thin notes more expressively, especially in bar 6, which is played much too metronomically. That piece is like a dream of a child who searches for the eternal truth and feeling of security. So the upgoing motifs in bar 9, 10 and 11, 12 are like philosophical questions, questions to God for me. But all has to be played very simple and spontaneously like in a dream (because it´s a child who just “imitates” the great poet respective philosopher). The ritardandi could be all played out more intensively. The free cadenza part in bar 12 should be played more freely with more rubati. The ritardando in the last 7 bars should become slower and slower continually and the sounds should disappear more and more like a dream, which is going out more and more out of consciousness.
For me Alfred Cortot has caught the character of this piece in a nearly ideal way (as a possibility, of course) during his master class in 1953 in Paris. Fortunately I have found that extract on YouTube (I have it on a DVD at home):http://www.youtube.com/watch?v=rNUNNNNj_Qw