I'm glad you could listen to these recordings and I very much value your compliments!
In 11/1 I decided to play it the challenging way. That is, instead of keeping the LH subdued while letting the RH do the cresc.-dimin. effects, I knew it would be more dramatic for both hands to participate in that way--but it would also be more difficult to restrain the LH enough so as not to drown out the RH, where the LH is in a lower and more powerful register. Much attention went to balancing the hands properly. There were a couple of measures where it was a struggle for the RH to prevail, but it pretty much worked overall. Yes I too wondered about those two pesky 32nd notes you mentioned, but I think it sounds OK. That entire figure is Chopinesque ornamentation.
I believe the Op. 24 has some excitement in the air. It's a very bright piece which contrasts well with the others that are more somber and melancholy.
You're absolutely correct. In regards to technique for this Op. 31 largo, I used Chopin's "Prelude" Op. 28, No. 4 in E, also largo, as the model of playing inside the keys to keep the double notes as quiet as possible. In that Chopin piece it's done for the left hand chords, but in the case of this Liadoff piece, I had to transfer that technique up to the right hand which also plays melody. It's interesting how when we learn a particular principle of pianism when we're young, we often associate it with the piece where we first encountered it. Another good example is playing a 2 against 3 polyrhythm. I always think of Grieg's "Notturno" Op. 54, No. 4.
The Op. 42, a little lament, was as scary as Chopin's "Prelude" No. 7 in A--the texture is so thin, sparse and simple that the pianist has no place to hide there. And trying to maintain a good legato at a very slow lento with passing tones limiting the pedal at times--a lot of work!
I'm glad I looked into this music of Liadoff. It impresses me in many ways. Thanks again, Andreas!