I remember that I had said I would comment on this CD but had not put finger to keyboard. I shall not mention specific musical detail but rather hazard a few guesses as to why I find your command of this idiom special. That is not to say the actual notes and keyboard playing forms are unimportant, the lyrical octave phrases, to take one example, are strongly evocative, but evocative of what exactly ? I think the first and major quality of your creations and your playing in this idiom is that I do not feel, as I do with some other similar music, perhaps including most of my own early efforts, that I am receiving astigmatic glimpses of cameos through a bottle glass window into the nineteenth century. It is not translated or refracted passion, of the sort I embraced in my twenties, acquired through lack of experience of real passion and reading a surfeit of stories by Flaubert and Guy de Maupassant. Now that sort of vicarious transportation is by no means necessarily invalid as an artistic stimulus, as the popularity of dozens of epic television sagas shows. However, I think your playing embodies real passion of today, here and now, but in your case it happens to be expressed through your ingrained command of nineteenth century musical language.
Busoni once said that Liszt's Ricordanza seemed to him to resemble a pile of faded love letters. That remark is obviously and at once, laudatory and deprecatory in the two precise senses I am trying to distinguish here, and who knows which he really meant ? The point is that your music does not resemble a faded romantic relic from granddad's mouldy trunk any more than a rag by David Thomas Roberts is stringhalted by association with a Sedalia bawdy house.
I like the warmup and the appassionata best, but that will probably not surprise you. Keep improvising and keep recording it.