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An early draft of the 2nd movement, recorded on my phone. I hope to have the whole thing recorded by the end of summer.

Any feedback is welcome!

Nice!!

A thing I particularly look for right away -- and for better or worse, it gives me a strong impression, one way or the other, which then is hard to shake....

It's kind of a subtle thing, and I'll be curious to know if it's even a thing that you exactly thought of....

how the 'beat' gets handled in that main melody

I imagine that to many or most people, it isn't obvious what I'm even talking about.

Here's the thing: It's easy for that "upbeat," i.e. the first 2 notes, to be heard as a "1st beat." (And then for the highest note to be heard as another strong beat.)
But it isn't. (Nor is the highest note a strong beat.)
The 1st beat is what comes right after those first 2 jotes.

We might think that the entry of the left hand on that actual 1st beat would make it clear that it's a 1st beat. But it doesn't. The nature of the melody is such that the 'default' tendency is for that upbeat to be heard as a 1st beat.
At least to me.

I think it's important for there to be some sense of the 1st beat being where it actually is.
But it's no good to be heavy-handed about it. The ambiguity of the beat is part of the beauty and flow.

So, how did you do on it?
I would say, absolutely perfectly.

......and as for the rest of it!!

Superb, through and through.

I haven't heard or looked through the whole set in a long time, and didn't remember how extensive and varied this movement is, nor quite how sublime and how forward-looking are some of the parts. You do a great job with all. There are some places that even seem to look forward to Scriabin.

The second subsidiary theme (don't know what else to call it -- I mean the part at 5:23 .....OK, I see it's called "Intermezzo II") is one of my most favorite passages of anything. There's just something captivating and tantalizing about the rolling between registers and the continuous modulations and the persistent avoidance of the tonic. (until he really gets there!)

I think this movement, more than any other in the piece, is a whole piece of its own.

Thank you for the kind words, Mark. I agree with you that this is not only the most substantial movement but also an entire world in its own.