Hi littletune,
I've never heard this piece before, but listening to your recording, I believe it's coming along well! You have the notes and rhythms down and you play with good vitality and continuity too. I don't have the score here, but look carefully at the indicators of touch--legato, non-legato and staccato to make sure that all those contrasts in touch are in place as you play.
A couple of suggestions: The left hand is accompaniment while the right hand carries the melody. So the right usually has to play at a higher dynamic than the left, which needs to be more subdued. (If the melody should switch into the left hand, then the reverse is true.) A tip: The way to do this is NOT to play the RH loud in an attempt to drown out the LH. Rather, the way that works better is to reduce the dynamic level in the LH. That will automatically allow the melody to soar in the RH.
As pianists we often talk about "balancing the hands". The word balancing can cause confusion to young pianists, because if two things are in balance, it suggests that they are equal--like two identical weights on each side of a scale. But when playing the piano, we usually need to
unbalance the hands.
The melody is in the foreground and must be dominant in sound. The accompaniment is background, so it must be more subdued. So in that sense, when the hands are properly balanced, we really mean that they're properly unbalanced, one sounding louder, the other softer. Now, if that doesn't confuse you, then nothing will.
The other thing is to be sure that you're observing all the dynamic markings, loud, soft and in-between. Look closely and listen to be sure you're adjusting the volume of sound accordingly. Doing so adds a lot to the contrasts within the piece. Contrasts provide interest, while sameness tends to be bland. Think ice cream. Do you want plain vanilla? Or maybe with hot chocolate sauce on it? Perhaps strawberries? That's the difference between sameness and contrasts, yes?
Always look at every detail in a score--away from the piano. Once you've done that and are practicing, exhaust the score. Try not to leave out even one of the composer's indications. If you do that, contrasts will take care of themselves. By the way, always have a little music terms dictionary near the piano. Then if you don't know a term, you can look it up rather than guess at it. I've been playing the piano for a very long time, and I still refer to the dictionary whenever I need to.
Again, you're doing very good work on this piece. Keep practicing!
Topic: J.B. Vanhal, Sonatina in F Major