This is a very fine rendition of the piece in my opinion--you etch the cantilena line beautifully and sustain the legato, which is so important, while keeping the accompaniment in the background. You give close attention to dynamics and voice leading throughout. In the opening downbeat on the very low D which recurs also in measure 2, I play the D's with a crossover of the RH. Even though it is pp there, doing so seems to enrich the sound. Have you tried it? On page 1, measure 18, I believe it sounds better to play the second and third beats without pedal, but that's just my perception. In part B you very effectively attend to the chordal melody treating the polyphonic passage work in the RH around the melody as a quiet obligato. Well done! The run up to the big climax (or "the point") is continuous, carefully paced and executed with a wonderful crescendo--very well done. Same with the voicing and accenting the tops of the RH chords as the climax recedes. In the reprise of part A, you keep the high bell tone in each measure very quiet as they should be. I believe that in the third to last measure, you can treat the the dotted half note chords in treble and bass marked tenuto (mostly for voicing the top F# to the follow E and finally the tonic D in the last measure) as having fermatas. It's a small liberty, but It makes the achingly gorgeous coda even more so. Overall, you play this music bringing out the long line, and giving it continuous sweep. Pedaling was always judicious. You listen to every note you play. Excellent!
P.S. I was playing this piece just yesterday.
"Interpreting music means exploring the promise of the potential of possibilities." David April