here and here, two that I played at the show with Laura Bohn last week. From the notes:
As I was just telling Beth Levin a few minutes ago, there are few dynamics and few indications of tempo, but they are flexible. I personally played the first piece moving the soft pedal very slowly, and in synchronization with my own small dynamic movements, giving the feel of an organ crescendo pedal. The third piece can be even slower than indicated, and quieter, and una corda. The last should have some frenzy, wide dynamics fine, a caesura before the change to the soft part.
Kyle Gann has spoken about this on his blog - the skepticism of the new music community at music they perceive to be understated. I thank him his clarity on the issue. And yes, I agree with him. I'm happy if someone tries to control every aspect. I myself used to do tape music, and that's a highly controlled medium, except for wires and speakers and amplifiers and the room in which one listens, but I also think that performers - including myself - should be able to mangle my pieces any way they wish. They do anyway, so why not just acknowledge it?