I listened to a few movements, and it's very nice playing from your side, good feeling for colours. Around 0:37-0:47 in the prelude I would like to hear all notes more clearly and don't rush - make sure that all sixteenth-notes in the right hand sing. The toccata is on the right track but it's overall a bit too loud - that's what so difficult about it, that there's one climax at the end of the piece and not ten climaxes all over the place. I think this structure could be worked on a bit more. And correct me if I'm wrong, but around 2:25, isn't it written "sostenuto" or something similar? I think the idea is to play this four-bar phrase more dreamy, as one long line (without harshly accenting each melody note as you do), the "toccata" feeling being overpowered by the expressive melody, and then four bars later back to the toccata. Hope that is clear? The same of course goes for the long lyrical section preceding the part I was talking about - don't accent each melody note, see the longer lines.
Around 1:13, there's an inner melody (which reminds of the prelude) in your thumbs that could be brought out more. The same goes for the beginning of the piece - it would be nice to hear f#-e-d-e-f#-e-d-e etc slightly more.
The menuet - very nice! But the appogiaturas should be ON the beat (this goes for all pieces in Le tombeau)
Overall, very good job!