Let's look at harmony objectively here.
Liszt Sonata in B minor -
first 17 measures (whole intro), 9 harmonic changes.
Beethoven op.111 -
first 18 measures (whole intro), 41 harmonic changes.
I believe this trend continues throughout both sonatas. While I personally prefer the Liszt (as witnessed by my Itunes playcounts), please don't say that the Beethoven is harmonically bland and follows "common changes". Just look at the introduction to the op.111 sonata! What exactly is common about that? The fact that it is tonal? Well, I hate to break it to you but atonality isn't exactly uncommon anymore.
But seriously, let's take a closer look at the Beethoven and see just how harmonically bland it is. Look at the first two measures..... what other sonata up to this point begins so objectively.... no key is implied at all! Look at measures 6 through 10. In this passage alone there are 16 different chords harmonizing a rising chromatic bass. Very interesting.... certainly not a simple V-I cadence here! Then look at measures 11-12 (also 13-14). The l.h is very dissonant here... with minor seconds right next to each other. Also in measures 16 through 18 there is a deliciously dissonant trill in the bass just dying for resolution.....
Furthermore, the only real indication that this piece is in C minor in the introduction, is the V-I cadence in measure 3. Other than that, there is awful lot of avoidance of the tonic in the introduction. From measure 11 all the way to measure 19 V is torturously prolonged..... certainly not a 'quick' resolution of dissonance!
The fact is is that no great composer is "harmonically" bland... you'll find that each developed his or her own personal harmonic vocabulary that is rich with color. In this way, even Webern is not necessarily more colorful or harmonically exciting than Beethoven - his vocabulary is certainly different than Beethoven, but no larger. Just as you won't see a tone row in Beethoven, you won't see a plagal cadence in Webern.
(BTW, if you ever actually listen to renaissance madrigal music, you'll probably find it unusually dissonant to your ears... more so than the Classical and Romantic periods anyway. Listen to some Gesualdo.)
Oh wow, be prepared to be ripped apart.
The very first changes are 5-1's....oh wow, Authentic cadences, are they not the most common candences in music? Hmmmmm, he basically modulations through the cleanest changes possible for a while, but at the very start, and i mean very start, it's pretty obvious that he is in C minor because the cadence resolves there. When the main theme comes around, the 5-1's are uncountable. Oh no, we have a circle of fifths afterwards, with the chromatic bass.

Just because this piece doesn't start in the tonic, does not mean that it has advanced modulations..... If you need help defining words, I can be of assistance.
Ok, quantity of modulations is a different ball park than the TYPE of modulations. Who cares about the number? Bach had more changes than Beethoven ever would, yet Beethoven's changes are IMO more creative.... same goes for Liszt compared to Beethoven, you do not have a clue what you are talking about.
Try op 106.... can you listen to the first theme and say that it doesn't completely follow changes that are perfectly set up? It sounds to me like it is written because it works.
Anyway, I am not bashing Beethoven, these are just not my favorite sonatas by him and this is because of the changes.
The moonlight sonata itself has more interesting changes, and that, although played out, I do believe is written from his mood at the time, and soul.
Can you argue this point? Nope.
Anyway, I can make this even more hilarious by dragging out the Liszt and analyzing that, is that what you want?