I listened to the Children's Corner suite. Sorry to be a naysayer here, but I think you've quite a bit more work to do on these yet if you want them to be presentable. It goes without saying that this is my limited opinion, but to my ears, these come across as rather soggy, uneven, and unclear, exacerbated by a heavy overuse of pedal (especially Gradus, Jimbo, and Snow). The cardinal rules for pedal IMO is that it should be evenly applied, when necessary, to the harmonic transitions or to substitute for legato that the fingers can't achieve. In your playing of these, it seems rather more of a crutch to hide uneven finger technique (especially in Gradus and Snow). Some notes on specific pieces:
Gradus: This one is IMO the only one of the set that presents any real difficulty for finger dexterity (and starting in C Major doesn't help matters any).It's of course marked sans secheresse but also egal, and that second notion seems quite lacking here. I note that at least in my edition there is no marking for pedal at all, and I would be sparing in that department, getting what legato is needed to avoid dryness from the fingers themselves. The opening is so frequently modulating that much pedal usage is bound to make it sound sodden. I've also heard quite dry interpretations by French pianists, and I think that's fine too despite the marking. In any event, it's really a piece parodying technique as you know, which is why many pianists play it like the wind (e.g., Rachmaninoff's absolutely hair-raising version). It could work at the more leisuirely tempo you've chosen perhaps, but that's one thing that makes the unevennesses, dropped notes, and smudges/blurrings all the more apparent. Your ending finally seems to get off the ground a bit, but it seems rather out of proportion in relation to the opening strugglings.
Jimbo: I'd prefer to hear this played more simply. Yours seems to meander and suffers from a lack of rhythmic precision and an over lushness of pedal. It should sound like a lullaby for an elephant, not a young Babar playing in a mud puddle.
Serenade: The accompaniments seem too loud to my ears. Often I can't hear the melody. I'd check to make sure that your overall tempo is consistent, often it seems to gush inappropriately. This could be because your overall tempo is too slow in relation to the tempo you have in mind for specific gestures, and I'm not sure that's really acceptable. A few rather jarring accents too to my ears. IMO more delicacy and grace is required. It's a dance for a doll after all.
Snow: Far and away my favorite of the set. This one IMO just needs to sparkle and glisten more. It reminds me of Milstein's comment about Richter that often the latter's water pieces sounded like frozen icicles rather than flowing water (of course this is snow, but snow generally falls gracefully and fluidly). I personally think the tempo is too slow, and often again I'm losing the molodic lines in the staccato freefall. There are also some rather ugly accents (to my ears) and aysynchronous rhythms in shifting between the hands. Overall lighter and more ethereal playing would be in order here.
Shepherd: This one is ok overall, but the dotted rhythms sound imprecise. I'd check some of your rhythms with metronome if you haven't already. There were some nice dynamic contrasts though and a nice trailing ending.
Golliwog's: The best IMO of the set, you seem to have some good verve here. I do miss a bit of the rhythmic retention and jazz swing but that's of course a matter of taste.
Sorry to be blunt here. As you may know, as a listener, I'm pretty forgiving about a few unnevennesses, slips, blurs, whether it's from a professional or otherwise, just as I am about differences of interpretation, just as long as it's clear what someone wants to do and that interpretation is not hindered by technical struggles. But I also think there's a big difference between a few slips of hand and playing that is generally uneven, unclear, and blurred. That said, I think you can definitely get there, and I've heard you vastly improve certain things, but IMHO I would say that you need to listen back to this recording a bit more self-critically to discern the realities from what you think you're hearing.
P.S. To try to avoid coming across as as high-handed, I would like to add that maybe about 95% of the time after I first record something (especially something I haven't recorded before), I listen back to it and cringe in horror.
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