Piano Forum

Great! I actually play this movement myself and I know how tricky it gets at some places. In spite of a few slips, like the nasty trill at 0:41, in the passage 2:45-3:05 (which is obviously fiendishly difficult if you don't have good technique for it, and still hard if you do), some inaccurate octave jumps at 3:25, 3:35, or a bad chord at 7:34, it is evident you have ful technical control over the piece. I am not sure if I would be able to play this at a recital with so few mistakes. (I plan to do it in a few months' time, so I will have an opportunity to test myself.)

I didn't find the initial thirds particularly challenging. The first thing to do with them is to avoid the silly fingering 42-31-42-31-42-53-42 given in many editions. 41-32-41, 51-32-51, and 51-42-51 all work much better.

Musically it is also quite interesting (the passage at 1:20-1:40 was simply great, so was 6:08-6:28), although I do disagree with your interpretation at times. For example, I think holding the pedal down for the C major bars (0:23-0:33) perhaps points out the harmony, but disrupts the clarity a lot, and also the bass chord doesn't stick out enough. I just play massively the bass chord without any pedal. Actually I think the only passages where the use of pedal should be considered are the middle section (2:45-3:05) and the chords before the final broken octaves (7:22-7:27). The same about the pedal and sforzando chords in similar places later (1:44-1:54, 5:28-5:37). What does your edition say about holding the lowest G for 1/2 of the bar in 1:54-1:57 and, analogously, the middle C in 5:37-5:40 ? I know there are differences in this place, I just think this holding the note down makes the whole thing sound better. Also, I play the Ab major chord 6:06 much louder since it is supposed to be surprise, and I use more tempo changes in the cadenza (6:31-6:53). But then, that's perhaps just my personal taste.