Thank you, birba, for cheching and valuable critique. Yes, I miss a lot an intelligent teacher who would immerse him/herself into my problems. About a year ago I tried with a teacher, asking her to follow my play and advise on the sonata, but she was quite reluctant to do, prefering her own direction, so and we proceeded with another piece before we soon parted. Sometimes it seems to me that I might see my drawbacks myself, but during my play I share all my attention to various aspects, and I may handle just few of them at once, while some others (which seem of less priority at the moment) have to be left without control. For instance, I really hear all the lack of sync, especially in the 3rd movement. Since I could not manage all the aspects simultaneously, not all of them were laid into the subconscious, and I am aware of many of them, I could not bring the piece to the performance level. Thus, my thoughts on further improvement mostly are not on hearing and picking up my errors (again, it seems that I hear many of them), but on the ways how to handle all that mess (at an higher hierarchical level).
I used to play the beginning thrills longer, but as I started checking with metronome I found that I fell out of bars with the longer thrills, that was why I made them shorter...
Topic: The Appassionata Project