For one year of piano study, I think you've done a fine job with this prelude. Good job!
If you're looking for a few suggestions, I would offer these for your consideration:
With the indicator of sostenuto, in addition to playing very legato, I believe you could slow the tempo just a bit, making the pace more leisurely. You'll find too that it dampens the atmosphere, more like a rainy day.
The main theme in measures 5 through most of 8 would benefit more from "dynamic contour". That is, in shaping the long phrase, you can play some crescendo aiming toward the high G flat in 7. Once at the top of the phrase on the G flat, you can then do a diminuendo sloping downward from the peak, tapering off on the D flat. That produces a flowing and ebbing effect. Once you've lifted off the phase, there should be a subtle hestitation or break before droping the hand into the following phrase. Why do that when it's not written into the score? Because that's where a soprano would take a breath. Much of piano playing is about breathing. The melody in this prelude is a cantilena--very song like. Think of the melody as a vocal part. The piano, like a violin or flute, needs to emulate the voice as much as possible in a piece like this.
In general I would suppress the raindrop motif in the left hand. Right now it's quite pronounced. While the melody is in foreground, the raindrops (an ostinato figure actually) is in the background. Thus, it is of less importance and prominence. There is a layering of sound here. The melody is most prominent. The harmonies are in a softer supporting role. And the raindrops are softer yet. This layering of sound is a step beyond simple balancing of the hands. Generally speaking, whatever is purely repetitive does not receive emphasis, as a repetitive figuration provides little interest to the listener. The variety is instead occurring in the melody and changing harmonic accompaniment. The raindrops are faintly in the background to barely remind us it's raining out.
On page 2, sotto voce (meaning in an undertone), again bring down the volume on the raindrops. In the left hand you do a superb job of voicing the bottom notes in the first two double notes followed by the upper notes in the next two pairs of double notes during the first two measures (28 and 29), and then voicing the upper notes in all the double notes in 30. That's excellent!
Again, I enjoyed hearing your rendition. I hope this will be helpful.
Topic: Raindrop Comments please