I'd also like to thank you for taking the time to convert and post this recording. I personally consider this the nocturne that sets the standard for what a piano nocturne should be.
A few opinions on the performance:
1) Tempo. I too think that the tempo is a touch on the fast side. For me a bit slower is better.
2) Touch. Have you considered a lighter touch? This is really a piece that I think requires velvet tipped fingers. As has been mentioned, the left hand is overpowering - the first low D-flat and arpeggiated tonic chord should set the mood for the whole piece. What mood are you going for in this nocturne? I would like to feel the sweep of the phrases and the flow of colors more than each individual note.
3) Subtlety & Surprise. We are not surprised anymore by this piece - we know it too well. Nevertheless, there are little gems throughout the piece that can still take our breath away if we approach them with care. Bar 5 is an example where we keep the D-flat pedal but have the magical a-natural suddenly appear for the measure. A slight hesitation in bar 5 and then again with the resolution in bar 6 "makes" that moment for me.
4) Dynamic Variance. My score starts the piece as piano, swells and fades throughout the first 14 measure, and then gradually ramps up to the first appearance of a forte in bar 18. Even then, it drops back to piano in the very next bar. By the time we reach bar 26, we are all set to repeat the opening theme, but even softer than in the opening measures. I guess the key for me is attention to the dynamics throughout the piece. As I tell my students, Contrast is STILL the first law of the arts.
Overall, I would like for you to take more time and care with this piece. To quote what Earl Wild said to us during one of his lectures in my school days, "A good pianist should be like a good lover. Too many pianists just bang their way through a piece. You want to take your time, caress the keys, make your audience anticipate the climax, and then bring a satisfying conclusion."
If you knew Mr. Wild, you can go ahead and fill in the more colorful expressions yourself.
I think you have handled many of the technical challenges of the piece adroitly. Now if you can settle some of the artistic issues you will be good shape.