Just continue to play it. Maybe slightly less legato. Not sure if it is the acoustics, the recording, or your playing but it sounds slightly too "dense" acoustically and slightly dark to me. Basically, acoustically it's not "breathing" well.As far as interpretation. It's ultimately up to you. My suggestion is you try whatever you want and find what you like the most. There is no right or wrong way in music. It's art, not science/math. This does not mean there is no science there as all art has some basis in reality but you won't be struck down by lightning if you do what you want so that gives you some freedom to experiment.To me, the main issue is clarity. There are some rhythmic/timing issues but that will work itself out the more you play it. In fact, many of these performance issues will work themselves out as you play the pieces more.Think about it this way: it is your job to figure out how to make it sound the best you can *as you like it*. That is what makes people different. What they like and how far they are willing to go to make it sound like they want it to sound. There is all kinds of things you can do along these lines. The only way you'll ever get that to that point is to experiment. By experimentation you'll know how to approach it yourself.All the nuances are to polish the song off and are the last 5% or so of the song but in many ways is the hardest and most time consuming. Ultimately you want to develop an internal compass that tells you exactly what you want as you are learning the notes so that you spend very little time and effort on the 5%.But ultimately you are playing music and at the end of the day you should be playing it for yourself and how it makes you feel. Of course if you are not critical at all then you won't see any reason to improve upon it. But if you simply learn what you enjoy hearing and how to express that then it will just come out naturally. It is sorta like learning a language in and of itself. At first you don't know how to express yourself but with time(practicing learning the elements) it becomes 2nd nature.So as an exercise the goal would be to, say, as you are practicing the piece. Try "random" interpretative elements. E.g., Either go by feel or if you don't feel it then just do something random like.If that is too hard at in the moment then print out the score and mark things down(as if you were composing the piece) and then try it. This is how you learn. You will learn by trial and error and that will start to build an understanding of how it works.E.g., there are certain obvious things, maybe, that go with music. Tension and resolution is the biggest aspect. It happens locally(from note to note) and globally(from phrase to phrase and even section to section). Dynamics, articulations, tempo, etc all can accentuate or detract from these elements. E.g., you get a feel for things like going into "endings". Generally to end a piece you will ritard because the music has to stop and generally, but not always, stopping abruptly, even at a cadence, will not feel necessarily like the end of a piece. Dynamics tend to work best on tense areas because they enhance the tension and enhancing tension helps propel the music forward(it gives energy into the music). This is true locally as it is globally. E.g., a single dissonant note generally wants to be amplified if it is resolving. This has the effect of actually making the resolving note sound more satisfying. Of course, if you over do it then it can have the opposite effect and detract from the music.So you have to develop an internal feedback system. Depending on the piano, the environment, etc all can effect the sounds in ways that are unpredictable and through experience you can deal with them.E.g., Think of a tennis player that only plays on one court vs one that plays on many different types. Same with rackets. The one that has more exposure to variations is going to be more comfortable and be able to adapt to the situations, even "new" situations. Same with music. Same with everything. (it's a universal principle)
Topic: Help interpreting wtc