Hi Zheer,
Congratulations on accomplishing so much in so short a time! Great! You've definitely got this piece on the way now. This is one of the Op. 32 Preludes that I have not yet played (though I did post five preludes from Op. 32 here), so I'm going to make only a few general comments.
First, pay close attention to dynamics. For example, I think you begin the piece too loud--it is marked p. Try depressing the pedal before you begin the piece. Lean backward a bit on the bench to make your arms float over the keyboard. Then with a legato, quiet touch, make the opening sound as if it comes from nowhere, build the crescendo through measure 1, then the receding diminuendo through measure 2. As it stands, your opening is fairly monochromatic when it comes to shading. This is natural, because you've had to overcome technical obstacles and tend to concentrate on those.
Also as someone else mentioned, when the LH is in the foreground, let it rule, and keep the RH suppressed. So, for example, if Rachmaninoff calls for f, and the LH is in charge, keep the RH at mp--strictly in the background as accompaniment.
The other suggestion I would make in general is to work for clarity at all times in the pedaling. For instance, look at 23, or actually starting with the last figure in 22. Notice that in the LH the dotted quarters form a chromatic scale which you must etch for the listener. Along about the 6th beat, it starts to become muddy. In the first three groups of 23, try taking each in a distinct separate pedal. In the final group, because of the neighboring tones in the RH, clear the harmonics through a releasing half pedal. Every piano and its pedal mechanism reacts differently, so you'll have to experiment to see what will deliver clarity.
At the top of page 3 in the first two measures there, you have the bass chords to be played in portato touch. There again, the chords are sometimes neighboring tones. For example, you have C# leading to D#, and later A# leading to G#. The pedaling there sounds a bit murky at the moment. I'm not at the piano now, but would try different "fixes". First, I'd try half pedaling the first two octaves after the tie, taking the next two in one full pedal since they are harmonic, and then half pedaling the last two. Next, I'd try separately pedaling each chord. Finally, after the tied notes, I'd try no pedal at all there, and using essentially the same fingering for each chord for uniformity in articulating the portato effect. I believe at least one of those approaches will give you the desired clarity of expression. Again, because instruments differ in response, you have to experiment. Finally, in matters of pedaling, your ear must at all times be the supreme court in matters of clarity.
Again, I think you've done a creditable and solid piece of work here, Zheer and are to be complimented. You've also done a service to the composer. Although No. 12 is more often played, too many people think that if you listen to the Op. 3 C#m and Op. 23, No. 5 in g, that you've heard "the Rachmaninoff preludes". Getting all of them posted on this board will broaden people's listening horizons. Thanks for contributing your very nice rendition!
Topic: Rachmaninoff Prelude Op32 No 12 in G# minor