In my non-musical life I tend to be very objective, logical and deliberative. But music is a right-brained endeavor, much of it to do with beauty, emotion and effect. When confronted with composer inconsistencies, I tend to go with my own instincts. Then if I need to pull back on the reins, it's easy enough to do. Years ago I used to think of the role of the pianist as a medium--that is, a nearly invisible middleman who interpreted the paper score for the audience with the prime goal of accuracy in rendering the music. Nowadays, I see that role differently, whereby the pianist is a co-author who acknowledges that the composer's score forms the true basis; however the performer also allows some of his or her own individuality to imbue the performance as well. While the composer/genius indeed created the paper map, it's left to the pianist to convey to the listener--not a piece of paper with symbols and signs on it--but the actual territory with all its breathtaking panoramas. And, of course, there is always and necessarily responsibility and accountability in doing so.
I agree to all these thoughts, David. Performing music (on piano) means something like a symbiosis between the composer´s score and the individuum playing the music. And from my view the romantic musicians (all the old pianists like Rubinstein, Horrowitz and so on f.ex.) had such a good intuition and integral imagination respective sensation of the work, that a single note or sign of the script often had not that weight it has today. We - unfortunately - live in a time, this integral sensation seems more and more lost and it´s replaced by reason respective intellect. That´s what makes playing all the old works (especially of romantic epoque) more and more difficult for many pianists of today.
For me it doesn´t matter too much, if a single note or sign isn´t considered respective realized, if the integral sensation and capture of the mood seems convincing. So it is the case in your recording as we are used by you. And so I personally don´t care too much about these two stupid g-sharps at the end. Listen to one or the other recording of Edwin Fischer, Alfred Cortot or Horrowitz, which contain much more wrong respective missing notes (well, they can´t really "contain" missing notes
) than your one and I think, you know, what I mean.
I would like to thank you for this very beautiful, deeply performed and convincing recording full of integral imagination and sensation!