The creaking noise is cause by the action of the pedal. I tried to cut it out, but the result was worse. If I had noticed it before I had turned the recorder off, I would have redone the coda. As it is, I only noticed while editing.
Bad luck! If the creaking pedal was a one-off occurrence, please disregard the rest of this paragraph. Otherwise, if the creaking is a regular problem, I presume you have developed a technique for minimising it, which involves concentrating on precisely how you move your foot. Just as with other aspects of playing, slight lapses in concentration are to be expected and this is one instance where the creaking may have been due to such a lapse. There are limits to our power of concentration, and without meaning this to sound nasty, the concentration you expend on anti-creak foot control could more usefully be expended on other aspects of your playing. Would it not be worth simply repairing the mechanical problem which causes the creaking, so that you could free up spare concentrative capacity? A repair need not necessarily involve paying a piano technician a fortune, and may be something you can tackle yourself. I had a similar problem on my piano: Wear on the pedal's pivot caused it to become quite floppy and prone to sideways movement and a bit of creaking too. The fix (temporary at least) was to restrict the sideways movement by lining the channel through which the pedal enters the piano casing (I'm talking about an upright here) with folded cardboard, cut out of a cornflakes packet.
The reason only now you can pinpoint it is because this time i spaced the triplet more than in other recordings.
No, I noticed it in the two previous versions too, but only this time did I resolve to get to the bottom of what was going on.
I am afraid that if we are aiming at perfection, we are not going to have it.
What a defeatist attitude, even though there is a lot of truth in it (for everyone). Perfection is something most of us will never achieve, largely because it's a moving target. The closer we get to what we once thought was perfection, the more we become aware that there is more to it than we had imagined, and we then set ourselves ever higher standards. In the final analysis, the constant striving towards perfection is more important than actually achieving it (Wer immer strebend sich bemüht, den können wir erlösen
(Goethe, Faust)). The journey itself is more important than its destination. Sorry for waxing philosophical. The point is, don't give up too easily. This 2 against 3 thing is a very useful problem to solve because you will come across it fairly often.
Do you have the Mozart sonatas? Look at the F major KV332, 1st movement, bars 49-50 (and later again 185-186). I remember working on this while still at school, and I was struggling with getting the rhythm right. My teacher told me (nice man though he was, he really did put it almost as bluntly as this) that if I couldn't get those two (or four) bars right, there wasn't really much point in trying to play the rest of the movement. The remark helped. I persevered, and eventually conquered it. Please don't give up, you owe it to yourself to persevere.
The piano is not in the middle of the room, but closer to the left wall than to the right (in the midlle it would block the window). Where I place the recorder is a little more to the centre of the room (and therefore in a straight line with the lower range strings of the piano), but still slightly to the left, the result being that almost always the left hand volume is louder in the recordings and that I have to de-amplify or whatever the word is (there is one)
the left chanel, so that both are roughly equal.
I see. Would another possibility be to interpose an item of furniture (maybe a chair, perhaps with a coat draped over its back) between the microphone and the piano in such a way that its direct "view" of the lower range strings is equally as obscured as its view of the higher range strings, so that it picks up more of the reflected sound than direct?