I have taken out the hiss and it seems to me there was little sound quality loss.
That aspect seems fine now.
I want to redo all my recordings, because I believe now the sound quality is much improved. That leaves 3 short pieces. Once that is done, I plan to go forward.
You should not feel obliged to put off going forward until you have righted all past wrongs.
You don't have too much baggage, but some of the folk here could never go forward if they did that!
As for your suggestion Eddy, I play every single third note of the triplet with my right thumb. It has never occurred to me to do otherwise.
I'm relieved to hear you say that, because I almost made a similar comment. The leaping and bounding which the left hand would otherwise have to do would increase the technical difficulty and would force you to slow down. I suspect Eddy and I were both thinking that this might be why you play this piece so slowly. And if that isn't the reason, we still don't know.
You probably did no edits this time to get rid of the breaks you made at the repeat signs, but do PLEASE just stop making the breaks. The repeat sign happens to have a fat line as part of it, but that's just a printing convention, it doesn't represent a wall at which you need to stop to gather your strength before jumping over it. Just treat it the same as an ordinary bar line when going on (and also when going back, except of course for the fact that you go back instead of forward).
There isn't enough emotion in the vicinity of the fermata bar. Try to put more into that section, and indeed into the whole piece. It isn't enough for you to feel the emotion when you're playing it, you need somehow to try to get it across to the listener. That is what performing, or interpreting, is all about. It's not the same as playing just for yourself. It's not just about emotion, but about communication of emotion.
I noticed that the second last note of the piece failed to sound, and that made me wonder whether it might be a good idea to omit the last two notes deliberately. Purists might shoot me down in flames for even suggesting such a thing, but there is, for example, a practice (fairly common, though not universal) in Haydn symphonies where in the minuet and trio movement the minuet section ends in a bar which begins with a tonic chord followed by a dominant/tonic note pair in the bass line. These last two notes are (when the aforementioned practice is observed) generally played when the second section of the minuet is played for the first time, and also for the second time when leading into the trio, but are omitted the last time on the da capo
. Doing something similar here seems worth considering because the last two notes (B G) are really nothing but upbeats to the repeat, and if there isn't going to be a repeat, there is no point in having the upbeats to it, is there?