As always, your dynamic range and phrasal variety is very comprehensive, syncretic and a lesson in the value of cultivating improvisational contrast, to be sure. These contrasts, coupled with the portentous figures in the bass are at times irresistably reminiscent of the Emerson movement of the Concord if it were not for the tremolos which hardly, if ever, occur in the piano music of that composer. The initial sequences of chords of the same, or almost the same type amount to a sort of melody which substitutes chords for single notes. There is a name for the device but I cannot remember it. As an opening it is particularly effective here.