Yes, Elevateme's performance rapidly improved and became solidly convincing, including the climax. Sometimes nerves in a public performance or slight inattention in practicing can get a piece off to a less than ideal start and create an odd focus momentarily for the pianist. All of us have experienced that. I noticed it just today when I started Debussy's "Reflets dans l'eau" at home. The opening measures in that piece have to be totally atmospheric, meaning that pedaling, relaxation, touch and nuance must be exactly right to create the mood and impression of shifting reflections. The first attempt didn't go as well as it should have, and had that been a public performance, I would have felt a nervous pressure to get things on course. Elevateme worked through that very well in the opening of Ondine--good continuity and adjustment of approach.
Similarly, how many of us have sat down to play a piano in performance and to find deficiencies in the instrument? We have had to immediately adjust our manner of playing accordingly.
When I was a kid, I attended a recital by Rudolph Serkin. He was the King of Nerves. He sat down at the piano looking frazzled. Next, he produced a handkerchief and polished his glasses so much, he probably altered the lens prescription. Even the audience was getting restless and uptight. But... as soon as he played his first note, he was totally transformed and absorbed in his music making. If he could do it, anyone can. Being a little nervous is a good thing too. It guards against over-confidence and complacency.
Topic: ondine