I know everyone is a little tired of my Clementi
What gave you that idea? Was it something we said? Oh my Daaarling Clementeee!
Certainly some of the fluctuations in tempo have been fixed, which is very good, and I think you've also slightly lengthened those phrase end notes in bars 2 and 3 for me, or am I imagining it?
Unfortunately I also have some negative comments:
A hesitation has crept in before the 4th beats of bars 16 and 17 (between the G# and the B). If you don't notice them by listening to the RH, they're more obvious when you listen to the LH. A similar hesitation exists between the F# and G in bar 6, and yet in bar 5, between the G and A all is well. These things are better on the repeat, though.
There is hesitation also at the boundary between bar 31 and 32, and 35 and 36.
I'm sorry to mention the following again, but to me it is an important issue. I'm disappointed that you seem to disagree with Andreas and me about not sticking in unwritten rests at the ends of sections. Every bar in this piece has 4 beats in it, and that goes for bar 38 too. This bar happens to have a "double bar" repeat sign in it, but not at the end of it, it is three quarters of the way through. You are not meant to pretend that the double bar symbol incorporates a bar line and to imagine that they forgot to print the 4th beat rest (even though, of course, often repeat signs do happen to coincide with bar lines). I do understand that you want to take a breath between sections, and also between phrases (such as for example in bars 22 and 74), and this is right and proper, but it is
possible to, and you should, breathe in time
. Don't make
time, by splicing in silence, instead take
time, by shortening existing notes if necessary. Often it isn't necessary even to take time, you can convey the feeling of a breath simply by phrasing off, i.e. by not going for a strong 3rd beat, but fading down the volume a little.
A couple of things I should perhaps have mentioned last time: The first may just be editorial, but I have the last note (F#) of bar 8 (and 64) incorporated into the same phrase mark as covers the following two bars, implying, I think, that it should be slurred to the first note (G) of bar 9 (and 65), but you detach it. This is really just a variation or embellishment of how bar 4 leads into bar 5, and there the F# is also slurred to the G. The other thing is more a matter of personal preference. If you (as I think you should) phrase off bar 38 for breath, both when going back to bar 1 and on to bar 39, then you would also do so in bar 90 (the last bar of the piece), were you to take the repeat. But I think you should also phrase off at the very end, and not override the printed staccato on the final chord by holding it on for longer.