I don't agree with any of your criticism and according to the thousands of reviews I have, most other people don't either.
One thing though puzzles me, where are there textual errors?
I rather trust my ears than thousands reviews.
As for textual errors, I did not listen to everything, but here is what I did:
Bach-Busoni beginning of the Fugue theme--you consistantly add one more beat in rests. The 1/16 notes are already slower than beginning. There is a very strange ritenuto before second voice entrance. Generally speaking, because of numeous ritenuti and rubati the whole theme exposition lacks rhythmical pulse, energy, and structural uniformity. I believe, if there is no theme introduction, there is no fuge.
Mozart Sonata 1st Movement--I won't talk about rubati here, as this is a matter of taste, but other things which bothered me quite a bit:
1) You completely disregard all Mozart's phrasing--those little slurs, which came from his orchestral nature of musical thinking, specifically violin group here.
2) Your use of pedal is very questionable as most of Mozart's prescribed rests get covered with it, turning all 1/4 notes into 1/2 ones. Specifically, m4, m19, m20, m21, m22, m25, m26, m29, m30, m32, m34, etc.
3) There are some articulations which look random, such as m.38, where L.H.suddenly goes staccato.
I cannot quite understand why a few meausres later in m.41 you change prescribed staccato 1/8ths to portamento 1/4rs.
Following that, you constantly alternate 1/4 notes staccato with pedaled portamento in the L.H., with no any logical pattern, losing uniformity of articulation.
Starting m.60 you completely disregard prescribed forte/piano changes--another typical orchestral way of thinking.
m.71 you play chords here portamento, but a measure later already staccato, and then the same material octave higher already everything with pedal. Those changes seem illogical and once again, create a loss of uniformity.
M82 once again you diregard forte/piano.
M84 once again you disregard forte (orchestral tutti).
Last few measures of exposition, you completely disregard sf marks and end with modest mezzo piano.
Sorry, I did not listen any further.
Beside of all those details, in general, although it has some nice lyrical moments, it lacks energy and life, partially due to your very limited dynamic range.
All of these are very typical students' mistakes--the result of whether lack of thinking, or not understanding the style and orchestal nature of Mozart's piano music.
I am sure thousands of people would love it as it is, but I am not sure if all those numerous mistakes, misunderstanding of style, and unprofessional reading of text are appropriate for a person who believes he is at least as good as Michelangeli or Argerich.
Best regards, M
P.S. If you are interested I can also write my comments on Chopin Polonaise.
Topic: Come to my piano camp