Thanks for responding! Nice to find someone who's got real opinions about things and is willing to continue an argument
Or a discussion really, since IMO there is definitely merit in what what you're saying, but I guess what you're focusing on here as a listener seems a bit strange to me (at least my interpretation of what you're saying, which of course could be wrong).
One thing I forgot to mention before is that as you know from studying the piece, each measure is pedalled for its duration, which makes either articulation or rhythmic delineation within
the bar next to impossible. But I think that's ok, because it makes perfect sense in terms of Chopin's writing and his metronome marking of 80 for the half note with the accents on the top of the phrase (in which each four-note grouping is therefore not called out as such). Really the piece is more in "one" than in "four" since the melody is really the essential feature and what unifies the structure of each bar. So perhaps what I'm saying is it seems you may have been a bit too tough on yourself when you played the piece
I just listened to a different recording (Michael Ponti's) and mine back to back, and granted, his was more fluid than mine, but his also wasn't particularly articulated at all and seemed to have a similar overall type of sound. So I guess I'm not reallly hearing the rhythmic distractions or irregular voicing effects or at least I would have to have a clearer idea of what you mean.