Did you by any chance notate where these dropped notes in the prelude are? With my headphones, anyway, I can only hear one. Also, I would be interested in more information on the pedal blurs you refer to (such as where you feel the pedal was inappropriately used).
Since you seem to want it, here is a more specific critique on your prelude:
1. Right in the opening measure, the third of F and D-flat doesn't sound in the left hand (this is what I am using "dropped" to mean, not "missed" or wrong, but weak or nonexistent). Then there is noticeable asynchronicity going into the second measure. The repeating A accompaniment seems weak in general. Then for the brief filigree run in measure 5 I don't hear the initial note after the first repeated note. For the reprise in measure 6, there is some rather noticeable and awkward hand asynchronicity.
2. In the entrance of theme B (measure 9), there is an unpleasant pedal blur in the lefthand against the melodic subject.
3. Measure 14, the G-flat doesn't sound, particularly unfortunate since this is the climax of the phrase. Also the lefthand around this point sound a bit weak and uneven. The three note ornament in 15 is too slow in relation to your overall tempo so it sounds a bit clumsy to my ears.
4. IMO you overemphasize the second reprise to the main theme, banging that E-flat a bit.
5. Is it just me or is there an edit cut in the repeated notes right before the transition to the C-sharp minor section? One of the notes sounds as though it fades out for a split second.
6. In the middle section, it gets suddenly quite a bit slower in relation to the tempo you started out with, which isn't called for IMO. I also find it rhythmically monotonous and think the accompaniment is too loud with not enough legato and singing of the melody in the lefthand
7. It gets even more lugubriously slow when the righthand melody comes back and around 61-62 (I counted so the measure number might not be accurate, since my score doesn't have numbers), I am hearing weak notes in the bass (though your melody is better here).
8. The end suffers from rhythmic monotony again and I'm not sure you're hearing the climaxes of all these delicious phrases. The very last measure seems rather abrupt -- not enough ritenuto for a sense of release and finality.
As a general comment, I find the rhythm rather jerky and inconsistent in the outer sections and overly careful and not varied enough in the middle section. Given the tempo changes between sections, too, I think it wouldn't be a bad idea to review your playing with a metronome even in this case.
Huh? Please tell me all of these places where I "often" slow down and come to a halt to make things easier?
Sure, I'd be glad to. Right before the chromatic filigree in measure 16 for one, There are incidentally also many notes in this passage itself that are simply not there (don't sound). Then you also slow down grotesquely in measure 23 (the variation on 16). There's also a lot of slowing down on the last page for the coda, which you accentuate by waiting a very long time in between the low E and the accompaniment. Of course I can't prove that you're doing this to make it easier for yourself. Just how it sounds to me when one breaks the fluidity of the line to hit a low note.
Ouch. Why did you use this particular language? Constructive criticism doesn't require this. I know I'm not as great a player as you, but truthfully this statement was very demotivating for me coming from someone such as yourself. I've been working for many months methodically and slowly building up my No 12, and in particular working on my form to keep my fingers relaxed and flexible, yet strong, so they won't tire by the end of the song. I've attached my last recording of a series where I've been slowly increasing tempo. I may as well take all my medicine at once here today!
I don't see how this is not constructive. I think it's more constructive to be honest and tell someone that the piece sounds too difficult for them (admittedly only my opinion) than for them to continue to struggle at it and waste their time. Normally, I would just let someone labor under a delusion and not comment on a performance where I didn't have more positive to say, but your rather passive-aggressive responses to earlier commenters annoyed me, so why not stir up a little trouble?
This passive-aggressiveness, I believe, is demonstrated by your even bringing up my performance of Prelude 12, since this is completely irrelevant to the topic at hand. But please feel free to tear my performance of this or anything else apart. I really couldn't care less. Passive-aggressiveness is another of my pet peeves btw, since it is often accompanied by delusional logic. But then, I'm sure you'd deny that you were being passive-aggressive anyway (much as Chris denies being narcissistic
), so I guess it's my own flawed perception and probably a moot point.
Regarding your performance, upon hearing it, I stand by my statement. IMHO this sounds to me as though it will never be ready given your present technical level. Besides being way under tempo at this point, the notes just simply aren't clear in practically every measure -- they sound smudged. This is a Presto, not an Andante, and if you're struggling to play the notes clearly at this tempo, I just don't see how you're going to be able to bring it up much more. My advice would be to start with something easier that you can control better, like a Clementi sonatina.