- I think the An's in m. 13/43 may be better as Bbb's (Cb7 chord). Same for m. 29 - and there you could write the G# as Ab if you write the An as Bbb
- End the crescendo before (not on) the barline in m. 16
- m. 26 is missing the lower octave Dn in the left hand. I would suggest prioritizing that over the F to preserve the descending bass pattern
- I'd consider dropping m. 31 LH down an octave
- Fermata on the last LH note
m16 RH - there's a note here and it's a Bb
I don't hear this at all
I hear this loud and clear. If the next updater could specifically check for this, I can approve it.
I don't think I hear it either.
While I will approve it regardless, might I recommend an 8va for m11-16 and 21-24 RH? I think it would make the parts much easier to sight read, and most of the transitions in/out of these sections are dotted half notes, so mental transitions to and from the 8va should be negligible. I can't see a reason not to include these.
I think 11-16 as fine as is (it starts out with a phrase similar to other sections, and only goes a bit higher). On the other hand, yes I think 21-24 would be much better using an 8va.
Speaking of that section:

The keysig contains a lot of flats, but the contour of the octaves here (i.e. descending/ascending pairs of chromatic tones) is visually lost the way it's currently written. I think this makes it a bit easier to read, but lemme know what you think.