I enjoyed hearing the playing by both of you. Ithaca, my instinct listening to yours reminds me of something I learned, which is to first create a solid framework and as a next step to start tweaking it, pulling here, pushing there, but the framework holds it all together. Like, you've created a first base to build on.
Ofc the challenge in these kinds of things for any of us is what we are capable of doing at a given moment in time. There are loads of things I perceive in music presently that I cannot quite execute yet, and then I have to wait until I can, or maybe experiment to get close to it. Or I can execute a thing but have created an aching neck because of what I did, and then it's back to the drawing board.
That grace note seems to bother you. Can you experiment with all kinds of variants to that? For example, is it a quiet grace note followed by a louder two main notes? Does the grace note have to be super quiet, or the two notes that follow, louder. I actually find it physically awkward for the grace note to be followed by two notes and I did struggle with it a bit myself. The grace note is a black key: the other two are white - so a key at a height down to two keys in the flat white valley --- "fall into" the white keys with a loose hand kind of sliding into those keys rather than the fingers "playing" those keys?
I've not had a chance to go further or go at the first page.
For the part I played yesterday, the measure just before the theme, I got a suggestion to pedal 3X as written, but to hold down the first LH D with the finger so that it sounds throughout - and if able, then do the same for C in beat 2. I tried that last night before going to bed so it's a bit crude. The first is holding the D only, the second is holding the D, and then also the C, and I like that effect.
https://www.dropbox.com/scl/fi/3dufkdfl5v20zvix17yd0/25.01.03-one-measure.mp3?rlkey=r6ngp2qoyo6j1ysx8mxj1a9u0&st=hk61xvmf&dl=0
