Thanks to everyone's replies! Having played this piece many times, it's nice to get constructive criticism on it at this time...yet I'm not sure the recorder or the instrument I'm playing on does it justice!
1) I'm playing on a Young Chang PG-150, the smallest grand...and I know the sound is off; the treble is out of tune and some notes are sticking out. And I agree, the overall sound of the piano is a bit off putting. Must call my technician...
Anyway, in response to the comments:
For one, I just have to say that the score I'm using is published by "Belwin Inc." from Rockville Centre, Long Island, NY, at 40 cents. My former teacher was in her late 90s when she gave me this edition, so maybe some of the "little slips" are mistaken, as I've heard some note differences from my score (i.e. m.67, 68 (LH), m. 42 (RH) ...) Also, in listening to the other recordings of this piece already on the site, I do think I am going a bit faster than others, but again, there are opinions on that.
To jlr43: As you wrote,
The first thing to consider is the tempo marking of "Andante sans lenteur."
, My edition says "Andantino sognando" ...and I've always learned that Andante is like a walking tempo, and so, Andantino would be faster than walking tempo (but not running!!) and sognando just means 'dreamily'. I just think there needs to be motion, which you and I agree.
One dynamics example is around measures 19-20 where the primary theme reemerges in chords. Note that this begins pianissimo and then proceeds through a crescendo to forte (at least in my score). I see no problem with changing a score's dynamic levels when one has planned out an alternative. But here, the phrase has nowhere to go dynamically and thus ends up sounding rather wooden and unshaped to my ears. In other words, you've learned the notes well, so now is the time to really work toward planning how you want the music to sound in your head. This is perhaps nowhere more important than in French music, which is IMO principally about orchestration and sound.
I think that that phrase starts from m. 19, cres. and then decres., then starts out softly at m.22 and then cres. up to m. 27 (the loudest notes in the phrase), with a subito piano to cres. to the same chords again in m. 29. But, are you saying that using those dynamics, it sounds 'wooden and unshapen'? I know that Debussy was very clear in his dyanmic markings... Perhaps the editor of my edition did something wrong? Not sure what you're saying there...
On the seconds page I thought things got rather bullish. This is a reverie with passion, sure, but it should not sound like Rachmaninov.
I know it shouldn't sound like Rachmaninoff, yet the phrase leads to a forte. I have compared my version to the other renditions, and I think my 'forte' is weak compared to them. I don't really have a booming bass at the moment, either.
Also, I agree the pedaling can be clearer. I'm actually doing the sustain pedal with my left foot at the moment (due to personal reasons), so I'll work on not making it so muddy sounding in places.
And, at the end, with the accompanimental figures at the top (aka the opening bars upside down), I am actually playing them with the RH, and taking the liberty of taking time.
But again, thanks all for your comments. I will work on the details and try to make a more polished recording. Will wait until my technician comes by again-that should help!