...this is an interesting rendition of a most wonderful sonata...
...my preferences are different, however
so take it for what it's worth.
1st movt.
I find this too slow. Sure, ma non troppo, but vivace. The adagio can also have more movement and direction in terms of where phrases go.
You need to pay closer attention to dynamics too I find. The RH chords in the build up towards the recapitulation is marked sfp each time. You did the sf's, but never the p. If you do this, you will have more scope to make a big crescendo towards the recapitulation.
You also need to commit to dynamics more in that first line of the recapitulation. You tailed off right at the end! In a strictly classical composition like Mozart, this is the norm indeed, but not in Beethoven! In fact, Schnabel even wrote down f for the last 2 notes of the LH there - for good reasons!
Speaking of commitment, I find that in the Adagio you often anticipate ahead. As a result, the surprises are gone because you've smoothed out the sudden dynamic changes. So, if it says crescendo, keep doing a crescendo as if it is leading to f! If it says f, keep it at f until you have to suddenly change to p. And if it is p, keep it beautiful and singing until it says f, at which point you return to being more aggressive.
2nd movt.
No ritards at the end of fast passages - but I think it happened in the recording because you're still learning it?
Anyway, I'm not sure how well your iPhone captures the sound, so if you changed the tone colour when the music shifted to C major in the middle section, good on you! If not, do it!
In fact, once you get the notes down, I'd recommend you explore tone colour more. There's quite a lot of scope for you to do this - for instance, when it drops down to p, you can play around with how much you want to articulate the notes (perhaps you want to drop the agitation and excitement a little, and so you articulate less).
And a similar point about dynamic changes - in Beethoven, commit to a particular dynamic instruction until he tells you otherwise.
Also...
All in all this movement is a bit too careful, *maybe* careful in tempo (note the marking), but surely careful in mood...there really can be some terror about it, and part of that is involved in putting it all on the line, risking everything. Really that *maybe* is there because I have no problem with your chosen tempo, where a certain power, majesty, and drama can easily reside; but right now I feel it is missing the whispers, missing the screams. In this structure there is a balance to be kept in the different grades of dynamics, that all the expression must be kept in the bounds of that given grade at that given time (which also allows the marked crescendos, especially the two huge ones more drama for the contrast), and then there is a sort of curve to the structure, that when the theme reappears in the left hand, it ought to be of an emphatic wildness that is much greater then it's first appearance at the start, with everything else leading to that moment, or better said, *defined* by that moment.
I very much agree with the essence of what is said here.
Finally, be careful with note values at the end. 11 bars before the end - that E octaves is so short! And be sure to differentiate between the last 8 bars and the last 2 bars - dotted crotchets and crotchets (quarter notes).
3rd movt.
My favourite movement! And you know, it's amazing to see how much you move in this slow movement! But kudos to you, you managed to keep it steady! Even so, why not try, instead of getting yourself in the moment, enjoying and feeling the music, listening intently to what you are doing - the sound quality for instance.
I also believe that this is probably one of those music that really is personal, so I won't comment much here.
I think that you should explore more of the tone colour changes that are possible in this music. This is especially vital in the 2nd variation (when you lead from the staccato section into the legato part is a perfect spot) and the 4th variation (by the way, I don't hear a difference between p and pp there).
I like the 3rd movt. faster actually - then the contrast with the next variation is more pronounced (between agitation and joy, and peace)
5th variation you need to start strong and with conviction. Also, the 2nd time the 2nd part comes around it is immediately p (you played p only after you played the first note of the bar). And then, it is sempre p.
6th variation...you know it is sempre legato right? You need to pedal better. And you seem rather tense here - if you loosen up your arms, you may find the trills easier to execute and the melody more seamlessly connected.
A point for debate - when it moves to 9/8, I think you need to keep 1/8 notes as exactly 1/8.
Also, may I ask why you took off the pedal for that ascending passage between when the trills move from LH to RH? I'd keep the pedal down there - maybe not all the way, and I'd probably half-pedal, but I'd definitely try to catch some of the resonance from the previous part.
Overall...well, not an easy piece huh? Although then again, Petrushka and Brahms/Pag are killers...
Anyway, you've got the notes down - that's a start. You've got some nice ideas - great - and you've got some that are I think inconsistent with the way Beethoven should be played. Perhaps you may like to listen to some great performances of this sonata - or any other sonata, following the score either way - and listen to the way they approach dynamics and phrasing.
All the best with your preparation, and happy holidays!
[btw...may I ask who this Serbian pianist is? Also, what piano did you play on there?]
Topic: Beethoven - Sonata in E, Op 109 - Complete