Well I won't say what I liked about the piece instead I'll critique since that is probably more helpful for you.
Overall in the Grave Adagio I felt everything needed to sound more serious and almost Beethoven like in its strength and graveness eheh.
Bar 1: The opening chord is sustained over the very first rests, you need to silence the chord when you strike the notes that come next. You neglect the rests a number of times in this Grave Adagio part.
Bar2: The triple tails in the RH are not fast enough the GFG. Throughout this introduction section when multiple 3 tail notes are played in sucession you slow them down. When the first couple of triple tails enter I think you actually play them too slow but compensate by making the double tail before it too short. This occurs a few times, Bar 2 also wherever else you find that rhythm of double tail leading to triple. Take care not to play the double tail too quickly and compensate by playing the triple too slow.
The value of the double tail has to be the same throughout. The particular rhythmic device Bach uses here, the double tail, dotted double and then triple gives you immediately 3 different notes types which you must maintain throughout. I feel that when you play the individulal notes in repetitive three note rhythms outside of the rhythm itself you are slightly out.
Notice that throughout the Grave Adagio there are 5 different types of notes and you must make sure each one sounds its value consistently. Another part where the note value is not strict enough is the dotted quaver at the start of Bar 6, your entry following that is a little fast. Take care of your dotted quavers and give them their sustained value.
In Bar 6 also the rhythm of the dotted double tails to triples are too fast.
Andante Part:
This was much better than the introduction. Bach music generally plays Quavers stacattoish over a legato double/triple note. For example if you ever listen to say... the Invention no 13 you notive the semi quavers are all legato and are played over short sounding quavers, this should also be evident in the Andante part here.
In Bar 2 the FG (3rd and 2nd last note in the LH) are overlap over one another in sound which acts against the idea mentioned above and makes the LH sound unclear. This overlapping of quavers happens a few times so be wary of it. I also detected a few wrong notes but that could have been just by accident so I won't point them out.
ALLEGRO PART:
This needs to be slightly faster to give that differnt atmosphere. Wake up your listener here and make them feel like we have shifted up a gear. Careful when you get to parts where both hands are playing semiquavers because I hear that it is ever so slightly broadened out in out which is undesireable. The ornamentation throughout the piece needs to be worked on as well however I am not very good in describing in words how to do that. Ornamentation is really a lost art in my opinion not many people, even professionals, relaly understand how they should be done. I wish I could put it in words but the only way I can effectively teach and describe ornamentation is by example.
Good stuff!
Topic: Bach - Partita No 2 1st Mvt.