Finally, we got to the point where number 28 was "okay".
This time it took more than 7 months. Because of Corona, my teacher's recital was postponed for a year, so I was able to take time to take lessons during that time. Although this piece does not attract much attention and does not appear in concerts as much as the next piece, No. 29, or the last pieces, Nos. 30, 31, and 32, the more I play it, the more I think it is a great piece of music.
Actually, the left hand in bars 91 and 92 of the second movement of No. 28 is "deliberately" played an octave lower than it is written in the score (Henle edition). When I think about it in contrast with bars 36 and 37 of the same movement, I am sure that Beethoven wanted to do so. (This is what my teacher told me.) In other words, it was because pianos of the time did not have keys with such a low register. It is truly an experiment.
Now, I have included below the teacher's comments when he arrived at "well, okay".
Barenboim had to cancel his concert in Corona and had 3 months to spare, so he recorded the Beethoven sonatas for the 5th time. The CD has just arrived and I'm just now listening to No. 28. I have been paying close attention to the branches of the trees in the forest, so please listen to Barenboim as if you were looking at the forest as a whole. You will find that you will be able to understand what I have been doing....
I listened to it. I guess all the developments are neatly organized in my mind, i.e., in my hands. I don't need to tell you how wonderful the touch and tempo are. It is not easy to play like this. Since you said that you "reviewed the performance from scratch," I am going to study it as an amateur by comparing it with some of your former performances to see what you have reviewed.
Title: Piano Sonata No.28 in A major, Op.101
Sound Source: Vienna Synchron Concert D-274
Audio file format: mp3
YouTube:.Beethoven Piano Sonata No.28