Wow.

Powerfully orthodox, I'd say. Excellent clarity in structure and in detail. Balance could use some work - sometimes one hand gets louder when the other hand should get softer sooner, and this traps you in
forte. All in all, this is a better
recording than the Master's student
live performance I heard last year.
Some particular comments:
The transitions between the middles of the trills and the way they resolve could be smoother, in general. Several seem inadequately prepared.
Nice job with the beginning of the repeated notes & transition to A-flat key near measure 40. That's a fairly loosely constrained part of the piece, and your interpretation is more compelling and creative than many that I have found on Youtube. You do what I wish I would had thought of myself there, especially with the pedal. Did you also do Autograph study?
When coming out of the second theme into the part just before the trills leading into the first closing theme, there's a crescendo into a
piano followed by a
subito forte in both exp. and recap. As it stands, I find the
subito forte a bit jarring, disconnected. In the recording you achieved the
subito by taking extra time between the two sets of falling octaves in the right hand, and a large increase in volume, mostly in the RH. I think this part is better executed rhythmically straight, and in a more LH-driven fashion: that is to say, with a very sharp dropoff in the LH volume to achieve
piano on the 6-3 chord, and less decrescendo in the RH. That way, when the LH comes back to join the RH for the second pair of octaves
subito forte, the continuity of melodic line in the RH is less disrupted.
The first entrance of the first closing theme (the one with the broken chords in both hands, not the descending thirds in LH) in both exp. and recap. is single forte only. Only in the second repetition, one octave up, does it attain fortissimo. I hear two identical dynamic levels in the recording. (It might also be my playback device. I'm not on the most sensitive setup here.)
In the very beginning of the extended diminished seventh broken chord that marks the end of the development, there are two measures of music where the left hand stops on a note,
and leaves rhythmic space, before right hand answers with its arpeggio. In your recording I hear those being played continuously. I think the call-and-response between LH and RH, growing more and more impatient as that space between them lengthens, are important there. I would follow the rhythm given in the score.
Such impressive clarity in the coda! I wish I could do that!