"downloaded 28 times"
Thanks to anyone who was curious. If you like it, please suggest another for me to do!
I could never warm to Glass's music like I can to that of, say, Adams or Ten Holt. And so it is here, I find the piece dreadfully monotonic, repetitive and void of melodic interest. Perhaps it is an acquired taste but it sounds like an amateur new-age composer especially with the totally uninspired ending - just slow down and stop... I'd expected more of Glass.
You're expecting more melodic interest and a definite ending from Glass? That's asking a lot. He sometimes "plays nice' with his movie soundtracks, but for his own "pure" music this is pretty much what you can expect.
That nifty rhythm in block F could have been made more interesting by better emphasizing and phrasing 5-against-3.
But it isn't 5 against 3, it's 18 triplet eighths grouped 5+5+5+3 against 12 eighths. It's still 3 against 2, but I can't accent every 3rd triplet in the RH because of the noted slurs in the quoted passage above. In the new recording I did at least try to emphasise the beats in the LH some more.
There are a couple of issues I had with the performance:
1. the harmonies change but the performance was flat
2. the right hand is too loud
3. the hesitations when making the hand displacements abruptly stops the forward flow
4. dynamically monotonous
Well I can't agree with 1 or 4, really, because you're not looking at the score. The only written in dynamics range from p to f, nothing on either extreme end. Crescendos and decrescendos are uncommon and most blocks only have one written in dynamic.
However, I re-recorded the piece trying to better follow the dynamics that are present, and I brought down the RH in spots when I think there is something worth bringing out in the LH (which there isn't, often, the chords move strangely through a theoretical lens.)
As far hesitations, it's not hesitation, it's just broadening in order to be more confident in the leaps. If it's distracting to the flow, I'll keep working on it. In the new recording I take less time to get around, at a slight expense of accuracy.
I stand corrected ! I did not realize this was a "harmonic piece" and that it should be performed like the famous WTC prelude. learning all the time ! 
Well uh... it's best to listen to Philip Glass outside of the world of functional harmony and traditional concepts of melodic development. I would like to make a thread about the subject, but the basic thing is I feel his music in terms of complacency and urgency, which is a little different than a standard V-I idea of "tension/release."
Consider three aspects of music: melody, rhythm, harmony. Glass is capable of some very nice melodies, but he is more interested in the other two. Call it reactionary against the composers who rebel against all 3, or rhythm-only percussive piano works like some Ligeti etudes (which have their own merit.)