thanks for posting my links, you didnt have to ! i seem to remember having heard another performanc of the op 35 no.4 by you on the website a while ago. i think you did a great job here, and your op.35 is better than mine. i went back to listen to mine and found myself cringing at all the missed notes. well that happens I guess.
i dont know op.34 but it sounded excellent, but could it be too fast? not having played it i am not sure how literal the contour of the LH can or should be, but its just a thought. this piece reminds me in a superficial, obvious way of rachmaninoff op.16 moment musicale in e minor, though that piece is more extroverted virtuosically. at least they are in the same class of piece, sort of rhapsodic and ostinato-like if not literally ostinato. another comparison i like is medtner op.14 no.2, march of the paladin, with rachmaninoff op.39 no.4, etude in b minor, where I really think he was channeling medtner. then again i'e never looked at the dates of composition, so that could be fantasy
op.35 no4 was great, you really sounded in command of it all. espcially excellent at the impossible passage from bars 87-94, the crazy voicing and polyrhythms, esp in m 94 where i could hear the inner voice hidden in the triplets. the left hand didnt strike me as always that clear tho, and sometimes a little fix like just letting the bass note resonate louder than the rest for instance in ms5-11, works wonders for it. maybe its the recording.
the slightly weird passages like m15-20 are so hard to phrase in the left hand, because everything is registered so low, and they all jsut taper off. just a little more clarity of the line there, also adds a lot.
oh one voice i think you missed which could have been dramatic is the accented notes and their resolutions in ms 31-35, the f# in right hand goes to the e in left in the next bar, same with the G to the f#, etc. only a small point because you had the right sweep.
playing this piece is a real experience. reading medtner's prose, i found a description of the playing of rachmaninoff, he said (this is not an exact quote) that he shook the notes out of his sleeve. he may have said like a wet dog, but i might have invented that part. to play this piece, you really have to do that, like in those passages in sixths, which sounded very good.
i dont remember seeing your 3rd concerto, i will have to go look for it.
until soon