Continue like this and any future biography of mine will read: "He is best remembered for his exquisite interpretation of Grieg's Arietta."
This is much better in terms of getting rid of the inter-phrase gaps.
Bar 12 is still broken (and the same comments apply to bar 22). I think you manage to make it roughly the right length overall, so that you arrive at the beginning of bar 13 at the correct moment in time, but you are playing the second chord (G and Bb) much too early. It should come on the 4th beat but you've shifted it forward to almost the 3rd beat, presumably to make room for the two grace notes. You almost seem to be trying to play the grace notes as timed semiquavers, but that would be wrong. Play them independently of the other notes. Make them as fast or slow as feels right to you, subject to the constraints that all the non-grace notes should be played without (or with only the merest hint of) rubato, that the E grace note should come after the 4th beat chord, and that the G grace note should come as far as possible halfway between the E and the G main note. It's perhaps too mathematical, but a starting point might be to play the grace notes as the 2nd and 3rd notes of a triplet which starts with the 4th beat chord.
Towards this end it may help to play both notes of the 4th beat chord with the left hand, leaving the right hand free to concentrate on the grace notes, and to play them in whichever way is most comfortable. I would suggest playing the E with 2nd finger and the G with the 1st, so that you have 1-5 for the G-G octave. But before you decide how to play the grace notes, make sure the 4th beat chord really does come on the 4th beat, by playing bars 11-13 a few times while omitting the grace notes.
I shall look into that, though my hand is free when the appgiature come along.
You took our encouragement of the previous recording "flowing better" too much to heart, I think, because it is now (for my taste at least) too fast, losing much of the lyric quality this piece should have. If that is what you meant when you said "I am not sure I like it all that much", that's wonderful. But increasing the speed to this extent was not wasted effort. It proves that you are capable of it at well above target speed without making those ugly gaps; you have built up a "reserve" of technical ability and now no longer have any need to worry about notes. Now you can drop the speed back a bit again, and relax enjoy it more, and think a little bit more about general musicality and phrasing.
Indeed, too fast. I have lately been practising just that: playing above speed. In the end it easier and I am more confident at this higher speed. Now it needs to slow down and it should solve the creeps problems.
In that department I found that there is too much focus on each bar, too much accenting the 1st and 3rd beats. This is particularly evident in bars 1 and 3, slightly less so in 2 and 4. Think in longer phrases. During all of bar 1 you want to build towards the beginning of bar 2, then slope away again, and so on.
Do you think of bars 7 and 8 as being an echo of bars 5 and 6? You have made a big reduction in volume here, which seems too much.
On those bars I used the soft pedal. To me they are an echo, yes.
Thank you for this exhaustive analysis.