I think anyone would like to know more about what they see.  Percussion, philosophically, is about as "far out" as instrumental music gets, so we have a great opportunity to bring people along and give them new things to experience.

For the chorale, I would do the 3-step thing I learned from Mike Burritt:  Unison blocking like you showed in the episode, then displaced hands low-high/high-low with the same metering, then displaced out of rhythm.  I use faster rhythms than you demonstrated when blocking to reduce the shift time so it's more similar to actual rolls.  That's helpful to me.  After that I would work out roll types.  

I tend to start phrasing as soon as I can hit the right notes most of the time.  I find that transforms my idea of what the piece is when the texture changes at every step, and gives me time to experience things that will likely not be in the final product.

I'd like to know if you have a process for breaks and breaths in your chorales.  You spaced the phrases beautifully and I wonder if there's a process or if it's more intuitive based on the environment you imagine yourself in.  

Thanks for doing this piece!  It's one of my favorites!

With regard to the chorale, I agree with what everyone has previously mentioned.  I follow the article by Michael Burritt called Four-Mallet Traditional Rolling.  I usually do this extremely slow.  I think it's also worth mentioning about leading with the left hand first when playing chorales of any kind.  When I get everything up to speed I also like to think of smaller subdivisions to make sure I keep in time.  If you are thinking eighth notes at a slower tempo rather than quarter notes or half notes there is, at least for me, less fluctuation in time.  Just a few thoughts.

One question I do have that maybe Dr. Burritt can talk about in the next installment is: how does your playing change when you are performing a concerto versus a solo piece of music?  In terms of musical decisions, overall dynamic contrast, mallet selection, etc.?

I'd say if you took the chorale and the cadenza, chopped it up and arranged it for the content/length you need and adjusted for the mood you want you'd have it all set! 

The second movement would be very good for this also.

I don't know what the copyright considerations with that are, but churches usually have flat ASCAP fees every year to cover everything that happens in them so there would only be "official arrangement" to think about if you wanted to take it that far.