Thanks for your comments. On your various points:
Actually at 020, there is no ritardando indicated there. It is a liberty I took in that spot that I believe was to good effect.
I didn't make myself clear enough. There is a dissonance (non-chord-tone) known as a retardation
(not ritardando). It works exactly like a suspension but resolves upwards instead of downwards. B. likes these and uses them a lot.
Concerning the tempo, it is marked appassionato. Given the tradition in Scriabin's music, many interpret that marking as always being a fast tempo, although I disagree, as it's an indicator of character or mood, not speed. To me sometimes passion and fast speed can be antithetical concepts. In practicing this piece, I considered the options and came to the conclusion that there were two avenues open to me. 1) I could play the piece faster and probably make a mess or it; or 2) I could play it at a speed more comfortable to me and assure more accuracy in doing so. I believe I chose the wiser course, leaving a faster performance to a pianist better than I, of which there are plenty right here at PS.
Well I certainly won't dispute that you chose the wiser course, but I do think that most passion is accelerated.
On the voicing of chords, I believe I did a very respectable job of it in the tenor and lower treble of the piano. What I've found following the rebuilding is that the higher treble seems weaker in volume, making it harder to voice up there during loud passages (the dynamics in this piece range from f to fff). Most voicing of the melodic line running through the tops of chords is done with the 5th finger of the RH. Unfortunately I have tenosynovitis in that finger only (probably due to voicing over the decades). For a period a few years ago I received two cortisone shots into the finger's sheath from a hand specialist, but the reduction in "triggering" was only temporary each time. We discussed surgery which would be a permanent solution, but I haven't felt like having the hand disabled for a month or more, so play with the condition regardless. That plus some normal osteoarthritis (age related) limits how much voicing I can comfortably do particularly in very heavy pieces like this one. Playing with "steel fingers" causes discomfort especially in that finger, so is not an option for me. Ah, to be young again!
I am very sorry to hear this. Have you considered just bringing everything else down further so as to bring the melody out more relatively?
The piano was last tuned on February 18th, so it hasn't been a month yet, plus the Maine winter climate is very harsh and hard on pianos. Tunings here are $130.00. So as a practical and economic matter, I do it quarterly, but I'm unwilling to do it monthly or before every recording. I have to say that at PS and other sites, I've heard pianos far more out of tune than my Baldwin at this moment.
If you haven't yet, you should think about getting a tuning hammer and some dampers just so that you can keep the unisons in tune. I am sure that your piano is just like mine (since they both have the same pin block and tuning pins) and I have some strings that have more tendency to get out, but never all three strings of a single note, so you can just keep tweaking the trouble spots and your tunings will go much further. It is hard to deal with fluctuating environments.
I do very much regret that my rendition did not please.
Don't worry, my time will be coming.