I enjoyed hearing your pieces. Here are some thoughts:
In the Grieg "Arietta", the melody soars nicely there. I would have wished for a slightly quieter left hand accompaniment, but well understand that with the Geyer's balky action, some notes might not sound in trying to obtain the best possible balance between the hands.
Bortkiewicz's "Angel" has good clarity, phrasing, clean pedaling, and accuracy. I've always thought that Bortkiewicz, a resourceful composer, could have devised a more angelic composition to better fit the title. Probably this piece is not most representative of his style, but that aside, I think you've given a very good account of it here.
Camilleri "Cantilena": I can readily tell from your playing that you really enjoy playing the Camilleri piece. You definitely feature the cantilena throughout. You do justice to the piece overall in my opinion. It's good too that you choose less-known pieces from the piano literature such as this one at hand.
Gershwin "Prelude": Just a few suggestions.
In the first eight bars (which occur again elsewhere), in the LH there is a chromatic scalar voice leading that occurs there. Starting on the first beat notice how the upper E goes to the E# and then to the F#. In measure 4 the F# finally leads to the G in the RH, the beginning of the melody. So in the first measure on the third beat, for example, in the double notes consider the underlying F# actually to be more important note to be heard than the C# over it. The C# is not melodic, but actually harmonic background accompaniment despite it being at the top. Scalar passages in music take on significance to the listener. So in executing those legato slurs, that voice leading needs to be heard. Voice leading is important, as is the voicing of melodic chords because music is all about voices, yes?
In measures 15 and 16, there is a device from Bach there. 15 frames a question, and 16 the answer being the C natural on the last beat rather than the earlier C#. I think you handle those measures convincingly.
At the end of 16 you take quite a pause there, but there is nothing in the score justifying one. I would instead suggest maintaining continuity there.
In the bottom line on page 1 (I have the Warner Bros. Edition), what needs to be most emphasized in the RH is the voicing not of the octaves, but rather the middle voices within the octaves. I think you're almost there with that, but just need to enhance those a bit more. Clarifying middle voices is always the most difficult voicing situation.
At the Largamenta con moto on page 2, you have a good balancing of the hands there with the LH playing melody in the foreground. What Gershwin had in mind for the very soft RH accompaniment there is having the piano simulate the brushes used on a snare drum. If you can imagine that sound in your ear, it helps in the execution of the double notes at the piano.
At the top of page three, last couple of measures, you could make a little more out of the rit. there; however, you're quite right, it should be non troppo. It takes a little finesse to get it just right.
Page 3, line 2: Here is another reprise of the main theme, so again we need to observe the voice leading, same as at the opening.
Line 3 first measure: To create some variation with the sound of the grace notes, instead of playing these particular ones separately followed by their principal notes, I liked to play these grace notes simultaneously with their principal notes, plus it creates a nice dissonance too. The only trick is that if you do that, then you must immediately release the B#s once sounded.
Line 4, last measure: Notice on the last beat of the prior measure the G# at the top of the LH double notes. It's the beginning of scalar voice leading again. That G# goes to the A on the downbeat, then to B, on to B#, to end on C# on the next downbeat. Best to voice all of these except the last C# with the LH thumb to sufficiently bring out that line. Notice too that as the RH melody drifts downward, the LH line to be voice ascends bringing about a Bachian converging counterpoint. That is justification to momentarily suspend the rule of balancing the hands such that the LH part can now be heard with clarity along with the RH in a very brief duet.
I like the way you play the last syncopations without any rit. there in the coda.
I notice your tempo is a slow andante, the same way I like to play the piece. I prefer that, as it gives the music more of a sultry feeling. Nice job!
So, I want to emphasize that I think you play the piece well in the main. The items I mention here are fine points of performance that you might find helpful.
The piano was definitely in tune and the quality of recording was much improved.
You may well have qualifying audition pieces here in my opinion, but our moderators have the last word of course.
Thanks for sharing your recordings!