Hi ponken,
I've played this prelude myself, so know the music quite well. You have the notes "in your fingers" and your articulation is crisp. You also, for the most part, differentiate touch, be it legato, nonlegato or staccato. You also distinguish foreground from background, attending to the melody throughout the piece. What I don't hear, however, and some of it might be attributable to the piano, are the dynamics as indicated. For example, the opening is marked p but sounds more like f to me. The dynamic is supposed to reach f in the second line, but then diminishes all the way down to pp at the end of the third line, where it all restarts in line four, but again marked p... but it mostly sounds like f to me.
The last two 16ths at the end of page two can be more meno mosso, as they lead into Part B of the ternary form over on page 2, which is marked meno mosso as birba mentioned above. So it must be less animated than previously. This section needs to sound hyper-romantic, no, ultra-romantic. I'm hearing you rush through it, again at high dynamic levels. Notice that it starts at pp and never once is to exceed mf according to the notation. The dynamics are intended to contribute very significantly to the ultra-romantic character of the music here. The way it's actually accomplished is by matching the dynamics to the melodic contours of the right hand. If the melody goes upward, then the dynamic does likewise. If the figure travels downward and tappers off, so does the dynamic. The left hand generally has to be a subdued accompaniment--that is, kept in the background. Think of it as a quiet lake effect. Down in the second half of page 3 there are some exceptions to that rule, where (and you do it well) the left hand follows voice leading in order to contribute to some hidden inner lines. The overall effect I hear in your rendition of Part B is not a lush, ravishing, poetic and seductive lyricism, but more a far less sensitive, rushing articulation at an unyielding dynamic of f. It really robs it of its sensuality in my opinion. In music like this we need to bear in mind that Rachmaninoff was a Late Romantic.
Over of page 4 comes the reprise to Part A. You could create more drama there coming off the ritardando from the previous measures by starting the reprise much slower than is now the case. The accelerando is actually quite extended, controlled and gradual. As it now stands, you're rushing off to a fire, it seems, very prematurely. You should really "spend" that long accelerando right up to the Tempo I notation on Page 5, then rush off to the fire if you wish.
On Page 6 you have the challenge of rapidly playing the 5 consecutive chords at the end of measures 2, 5 and 6. Right now those figures lack full clarity. You might be playing too fast to to execute them well. If so, it would be a reason to ease off the tempo throughout the piece just a bit to better accommodate them.
The coda is marked leggiero (lightly) and is supposed to be mere whisper at pp (best to play the entire code without damper pedal, but soft pedal there is fine). As it now stands, too loud! And no reason to rush the coda.
I hope this helps.
Topic: Sergei Rachmaninoff - Prelude in g minor (Video)