Aloha, Cluey,
First, let me congratulate you. You've got the hardest part behind you; think of how many people stop before getting where you are. Well done indeed. However, it does worry me a bit that you've been playing for 10 years, and still lack either a deep enough knowledge of what's been written for the piano or a deep enough knowledge of your own tastes to make a list of pieces you want to learn a mile long. Developing a good, long list of pieces which appeal to you and grouping them into programs for performances, listening to those pieces, and playing through them is
vastly more important to overall musical development than our beloved Professor Czerny and his terrible etudes, which are very valuable until you realize they don't do anything that other, vastly superior pieces won't do faster and better (if you don't believe that from me, look at the preface to Dohnanyi's finger exercises, where he says basically the same thing). I wonder if, as you work at keeping your finger dexterity you aren't working at the wrong aim and wasting your precious time at the piano. I'm not in the business of arguing with success though; if that brings you success in a time period you're happy with, by all means keep at it.
I was looking over your list, and wrote up some suggestions for what I thought you might do well learning, but then noticed you've already played the HR2, I assume to a concert standard, which opens up vast possibilities. I'll just mention a few of the more notable ones I had on my list:
Grieg- Lyric Pieces
All of these ought to be cake for you, and contain some of my favorite Romantic pieces, such as Sylph and Homeward (op.62 n.1 & 6 respectively). I assume even the hardest of these won't provide more than a few hours challenge if that; if you ever need a new Romantic piece, why not learn one of these?
Schumann- Carnaval
I love this set; it has an extremely interesting overall construction and one of the pieces in the set (Coquette) has been ringing in the back of my mind for years. Chopin did no agree with this assessment, though. This should provide a greater challenge than the Lyric Pieces.
Alkan- Etudes in Major Keys op.35
Alkan is one of the most unusual cases in Romantic piano literature. To the average pianist, Alkan composed 16 pieces: 12 minor key etudes under op.39, 3 Etudes under op.76, and the etude "Chemin de Fer" op.27. He is usually considered a super-difficult composer, on the level of Godowsky and Sorjabi. I think this is a shame, as he wrote many approachable pieces. Still, it does let you impress people who know only the name and the usual story by playing Alkan for them at almost any level. These 12 etudes are by no means simple or small-scale, but they are easier than the usual suspects, and some are quite marvelous. For an easier introduction to Alkan, you might consider his Preludes, op.31, which should be more than manageable. Really, you can find plenty looking through this fellow's output.
Petrassi- Toccata & Lesur- Ballade
Two wonderful modern pieces, both of which are easier for ears acclimated to purely tonal music than most other pieces of their time period, and should be widely played. Sadly, pieces such as these can be slightly hard to acquire scores for.
Chopin- Etudes
I'm surprised you haven't learned even one of these yet. If you don't have any predisposition against these, I'd recommend learning as many of then as you can. I'll offer you one possible idea for studying these. It may work well for you, it may not. Several of these etudes have a strong Right Hand bias, as you'll well know. As I see it, the most useful thing to do with Godowsky's transcriptions is to use them to prevent overuse injury from working one hand too hard for too long. I think you would do well with several of these etudes to learn, concurrently, one of their Godowsky transcriptions. Specifically:
Op.10-1 and Godowsky 2
10-2 and Godowsky 3
10-5 and Godowsky 7
10-7 and Godowsky 14
10-8 and Godowsky 16 (Godowsky's versions of this etude may be too hard to be of use though)
(10-10 might have fit here but for the tremendous difficulty of both of Godowsky's versions)
25-2 and Godowsky 27
25-5 and Godowsky 33 (would have been in the same boat as 10-10 if not for Godowsky's Ossias, which may help)
25-6 and Godowsky 36 (now
this'll straighten out them double notes...)
25-11 and Godowsky 42
*I use Godowsky's original numbers
Naturally this will be a very controversial idea, but I found it to be useful for 10-7 in particular; it's worth a try. It goes without saying, don't try the rest of the Godowsky transcriptions unless you have the fingers of an angel, nerves of steel and a wrought-iron stomach.
Finally, here are a few composers to research; I think they'll lead you to good things:
Gottschalk
Syzmanowski
Tcherepin
Vladigerov
Kalkbrenner
Borner
Dvarionas
Paques
Korngold
Buxtehude
Blanchet
Couperin
(Pardon any misspellings, it was hard enough to write this out on an iPhone
)
Good Luck!
Cliffy
Topic: Performer's Repertoire