Double trill in Arietta of Beethoven Piano Sonata Op. 111

[pianolo]

I am currently learning the second movement of Beethoven's last sonata. At the middle of the first thrill passage there is a double drill on D-D# and G#-A# simultaneously with the right hand. I have not been able to play it to my satisfaction yet and have tried many combinations. I currently play it as two chords (first D-A# and then D#-G# with fingers 1-5 and 2-4 respectively) which I have practiced using what Chen describes as "parallel sets" in his book. I can now do it fast enough using an up-down wrist motion almost without moving the fingers. However, it doesn't sound right. After listening carefully to a recording of the sonata, I believe it should be played as D-G# first and then D#-A#. The problem when I play it this way is that I can't use the same wrist motion which allowed me to go faster. Can someone tell me how it should be played and also give me some advice on the hand motions to play it?

[nikodr]

After reading the "der weg zum kunstlerischen klavierspiel" by josef dichler,in an example it has that trill from bethoveen opus 111 he gives 3 fingerings
51,42,51,42
41,52,41,52
42,51,42,51

and says on a side note "that the first fingering (51,42,51,42) comes from bethoveen and can just be executed with difficulty (and he may thinks that it is a mistake) but at another side note it says "Maybe bethoveen means that the trill should start with the neighbour notes (that is Bb,and Eb) then the fingering of bethoveen would the same as the last fingering (that is that  42,51,42,51 becomes then  51,42,51,42 and so on.)
He also adds that the second fingering is not good for fast trill though it feels normal.and adds that we should use the last trill,42,51,42,51

Hope that helps