Thanks for the reply Olaf, I value your suggestions as always.
Some dotted 16th could be sharper accented. Some of those dotted notes you accent so that the following main note has more weight and the dotted note is light. That I like much, however on some places you have weight on the dotted notes what makes them a bit tenacious.
Yes I have problems with these dotted notes. Some come out better than other due to my grand's inconsistent key weigth (always blame the instrument hahahaaaa...)
Why do you slow down in the beginning of the a minor reprise at bar 81? You do it in fully intent, I am sure, but I don't see the reason. It would be kind of deja vu, if the original tempo comes again if the A part starts again (maybe the B part could have another tempo instead).
Dunno really.... it just feels to me like that is how it should/could be. No reason why a reprise should always be in the same tempos as the exposition.
Some left hand notes were missing in the B part but nothing penturbing at all and no audible slips.
I can't hear any missing notes but maybe some are barely audible. That middle part I am not very satisfied with, always found it difficult to bring off.
To the 2nd a minor Mazurka:
Confident played too. Also the melody in the left hand. Your rubato around bar 37 shows much feeling for the LH melody - great! I have not recognized too little dynamics here, and on this Mazurka you persuade me that it can't deny its dance origin and sound very well so.
I was used to playing this much slower, but sped it up considerably after listening to Rubinstein's recording.
If you want to re-record (I don't see much reason for it), maybe you could try to play the upper note of the RH octave runs not only with pinky (it sounds to me as if you play without alternating fingers), instead pinky and 4th, maybe 3rd finger alternating in order to phrase a melody here.
I do play with alternating fingers but not consistently, not following the fingerings to produce legato in the upper voice. I was all too happy to get it off without any major goof but it's far from polished.
Granados - Villanesca: I like it but have no detailed comments to offer.
This is more tricky than it sounds. These high bell notes are all played by the LH, which in the second half of each bar has to reach high over the RH. That requires attention to the hands and distracts from my sight reading
Luckyly it is very repetitive and I know these bits by heart now.
Busoni - Sonatina: Yes, it sounds dark to me. What do you mean with some light editing here and there? CoolEdit on the page turns?
Nope, I really goofed up in some places and hat to cut out the wrong bits. Also (uck...) I lowered the volume of two crucial chords I had played far too loud. Not something I do normally but time was my enemy
What a strange mood for an Xmas day piece as the title suggests? Busoni was wrong regarding the title - he meant Eastern instead with Christus suffering on the crux... This dark mood was captured very well however!
The title means 'On the day of the birth of Christ' so it's definitely about Xmas. But you never quite know with Busoni. There is always that dark undertone, brooding and glittering at the same time, and there's something fascinating about his deployment of deep bass octaves (which I appreciate more in his original works than in his Bach transcriptions). A weird and wonderful piece this is.