SESSION 1

SATURDAY AFTERNOON

2.0 pmDomonkos Csabay Sonata in F minor Op 2 no 12.25 pm Daniel Lebhardt Sonata in A major Op 2 no 2 2.55 pm Edward Leung Sonata in C major Op 2 no 33.30 pm Martin Cousin Sonata in E flat major Op 74.05 pm Li Siqian Sonata in C minor Op 10 no 1 4.30 pm Mengyang Pan Sonata in F major Op 10 no 2 4.50 pm Roman Kosyakov Sonata in D major Op 10 no 3 5.20 pm Dinara Klinton Sonata in C minor Op 13 ‘Pathetique’ 5.45 pm Simon Watterton Sonata in E major Op 14 no 1 

SESSION 2 

SATURDAY EVENING 

7.00 pm Konstantin Lapshin Sonata in G major Op 14 no 2 7.25 pm Patrick Hemmerle Sonata in B flat major Op 22 7.55 pm Amit Yahav Sonata in A flat major Op 26 ‘Funeral March’ 8.20 pm Leslie Howard Sonata in E flat Op 27 no 1 8.40 pm Caterina Grewe Sonata in C sharp minor Op 27 no 2 ‘Moonlight’9.05 pm Thomas Kelly Sonata in D major Op 28 ‘Pastoral’ 9.35 pm Petr Limonov Sonata in G major Op 31 no 1 

SESSION 3 

SUNDAY AFTERNOON 

2.00 pm Ilya Kondratiev Sonata in D minor Op 31 no 2 ‘Tempest’ 2.30 pm Mark Viner Sonata in E flat major Op 31 no 3 3.00 pm Sofia Sacco Sonata in G minor Op 49 no 1 3.15 pm Gabriele SutkuteSonata in G major Op 49 no 2 3.30 pm George Todica Sonata in C major Op 53 ‘Waldstein’ 4.05 pm Andrew Yiangou Sonata in F major Op 54 4.25 pm Julian Trevelyan Sonata in F minor Op 57 ‘Appassionata’ 5.00 pm Matthew McLachlan Sonata in F sharp major Op 78 5.20 pm Olga Paliy Sonata in G major Op 79 5.35 pm Mikhail ShilyaevSonata in E flat major Op 81a ‘Les Adieux’ 

SESSION 4 

SUNDAY EVENING 

7.00 pm Callum McLachlan Sonata in E minor Op 90 7.20 pm Ben Schoeman Sonata in A major Op 101 7.50 pm Ariel Lanyi Sonata in B flat major Op 106 ‘Hammerklavier’ 8.40 pm Julian Jacobson Sonata in E major Op 109 9.05 pm Petar Dimov Sonata in A flat major Op 110 9.30 pm Sasha Grynyuk Sonata in C minor Op 111 

Beethoven is alive and well and at St Mary’s Perivale this weekend thanks to Hugh Mather and his remarkable team.
A wonderful array of talent celebrating the monument that is Beethoven’s moving journey from the cradle to the grave .
32 Sonatas with 32 Pianists …….or should I say musicians .
It was the intelligence and beauty of music making that made this first half of the journey so absorbing.
This is not the circus of a competition where there is a lottery to pick a winner.
Each one of these carefully chosen pianists had something very special to say.

Starting with the first three pianists playing the op 2 set.By coincidence all students of Pascal Nemirovski at the Birmingham Conservatoire as was the pianist who played the last of the op 10 set.
Domonkos Csabay and Daniel Lebhardt both received their early training at the Liszt Academy in Budapest – I was following with Liszt’s own edition of the sonatas that he orders in difficulty rather than chronologically.Both played with that youthful energy that is so much part of early Beethoven before the torments of life took root.
Here are some brief notes of this fascinating journey :

Domonkos’s wondrous beauty in the trio took us by surprise as did the cloud of sound with which the Prestissimo entered in a performance of driving rhythmic energy and musicianly precision and clarity from the first to the last notes.

Daniel threw off the bel canto embellishments in op 2.n.2 with consummate ease and grace with Beethoven’s rude interruptions making such contrasts and a Largo appassionanto of orchestral proportions.

Edward Leung played the much more imposing op 2 n 3 with a sense of colour and shape that made the overall architectural shape so clear.He studied in Princeton before Birmingham and he played the Scherzo with fleeting lightness and the Allegro assai with beguiling colour and character.

Martin Cousin brought the important Sonata op 7 beautifully to life with his mature musicianship and intelligence -the Sonata that Michelangeli made his own was every bit as imposing today as in the great Master’s cool hands!This with op 2 n.3 and op 10 n.3 are Sonatas where the important world of Beethoven is beginning to open up new horizons bringing new light and sense of direction to those of Mozart and his teacher Haydn.

Op 10 n 1 was played by Li Siqian with an astonishing sense of precision and balance with an Adagio molto of wonder and beauty.

The precision and rhythmic energy that Mengyang Pan brought to op 10. n.2 were every bit as remarkable as Glenn Gould who first brought this Sonata to our particular attention.A beautifully mysterious Allegretto very individually played with the Trio section so similar to a Schubert Moment musicaux made a beautiful contrast to the astonishing unrelenting bravura of the Presto.

Roman Korsyakov, another student of Pascal Nemirovski,gave a masterly account of the much more imposing op 10.n.3.Interesting to see his Russian edition edited by Goldenweiser( the great teacher of Nikolaeva and Lazar Berman ) where the acciaccaturas of the first movement are played as appoggiaturas – I must consult the new Barenreiter urtext edited by Jonathan Del Mar,Leslie Howard and Julian Jacobson.( It was Julian Jacobson who wrote the fascinating programme notes to this series).
Op 10.n.3 is already pointing to the direction of the great sonatas of Beethoven’s maturity.A monumental performance of the great Largo e mesto followed by the charm and grace of the Menuetto and trio before the enquiring and searching Rondo allegro played with the same precision and detail as I remember from Perahia a few years ago.

The sonata op 13 that follows is the famous ‘Pathétique’ and it was played with ravishing beauty and superlative technical control as you would expect from the hands of Dinara Klinton.Suffering from an artrosi of the neck she played with the consummate artistry of the great artist that she undoubtedly is.

Simon Watterton a top prize winner of the Royal College a few years ago mentored by the much missed Yonty Solomon finished this first session with the first of the two sonatas op 14.They were sonatas often played by Sviatoslav Richter and Annie Fischer who realised the absolute perfection of these two unexpected jewels.Simon,with his great musicianship showed us all the charm and originality of the E major sonata and he tells me tomorrow he is playing another four sonatas in the 7th of his complete Beethoven series in Walton on Thames.

Konstantin Lapshin opened the evening session with the other op 14 Sonata in G.This even more than it’s sister is a perfect jewel that from the very first notes was played with an exquisite delicacy and sense of balance that was remarkable.The andante and variations were played with a tantalising sense of style with subtle contrasts between the plodding opening and extreme legato of the mellifluous episodes .The Allegro vivace too was played with great charm and grace where Beethoven bursts into irresistible song much as Schubert in his Sonatas. Life is still good for the young Beethoven at this point.

Patrick Hemmerlé was now to take us into the new world that was opening up for Beethoven with his Sonata op.22 .Played with the ease and mastery that we have appreciated recently with his performances of the complete Etudes by Chopin not to mention his extraordinary performance of Rudepoema written for Rubinstein by Villa Lobos (whose live recording from the Museum of modern art in New York is strangely cut off mid performance for this impossibly difficult and ungrateful piece)
Patrick and Thomas Kelly ( op 28) are two of the most inquisitive musical minds that I know and have teamed up to play at Clare College in Cambridge to explore works from a vast almost unknown piano repertoire.It was exactly this sense of wonderment and discovery that they brought to the Sonatas op 22 and 28 today.
Patrick brought his extraordinary musicianship,sense of balance and architectural understanding to a Sonata that I first heard from Richter.A critic said the slow movement was in existent as he played it so quietly we were not yet acclimatised to this school that delved deep into the world of half lights from mezzo forte down to pianississimo.Today Patrick played the Adagio con molto espressione with a wondrous sense of balance – multi coloured and sensuous even – as it unwound before the tempestuous Trio and mellifluous Menuetto and almost Schubertian Rondo.

Amit Yahav brought beauty and charm with an extraordinary sense of detail to the Andante and variations opening and great drama to the Funeral March from which this sonata op 26 takes its name .The Allegro floated in and out with a fluidity and enviable agility.

A message from The Ingesund Piano Academy in Sweden summed up the performance of Leslie Howard: ‘such mature masterful playing ‘.
His op.27 n.1 was played by this remarkable musician with simplicity and intelligence the same that was so admired by Guido Agosti when a young man played op 101 to this legendary pupil of Busoni in Siena .Now a legendary figure in his own right ,as Hugh Mather rightly said ,he has been responsible for the new Urtext edition not only of the Beethoven Sonatas but also a long overdue Urtext of Liszt B minor Sonata (having recorded all the works of Liszt on 100 CD’s).His performance of Beethoven showed off his subtle use of pedal and scrupulous attention to phrasing that brought this masterpiece vividly to life.

Caterina Grewe had the task of playing what is Beethoven’s much loved but often totally misunderstood ‘Moonlight’Sonata.Who has not ‘had a go’ at the first movement dreaming of the moonlight that Beethoven never contemplated .Here Caterina restored it to its true astonishing originality.A first movement Adagio sostenuto!Yes but played in two not four that allowed the melodic line to shine out in all its architectural glory rather than being submerged by the triplet accompaniment .A charmingly mellifluous Allegretto and trio was interrupted by the tumultuous Presto agitato played with astonishing rhythmic impetus and authority.

Thomas Kelly fresh from his triumph at Leeds showed all his natural gifts in the ‘Pastoral’ Sonata op.28. His liquid sound world so suited to this most Schubertian of Beethoven’s Sonatas.If the repeated D’s in the bass could have been more measured it is after all Beethoven’s heart beating so happy and contentedly and only accompanying the melodic line that was so movingly shaped .The Andante,one of Beethoven own favourite works, was played with wondrous sounds and contrasting sense of character.

Petr Limonov’s astonishing natural gifts gave such shape to the first of the three sonatas op 31 which closed today’s survey.His superb natural musicianship allowed the beautiful bel canto Adagio grazioso to be shaped with such colour and wonderful detail before the superb technical brilliance of the Rondo Allegretto

Beethoven in Perivale day 3
It was a beautiful clear day with the sun streaming in through the stained glass windows of this beautiful redundant church.Situated in an oasis of greenery just a stone’s throw from the centre of one of the busiest cities in the world.

Yesterday the first sixteen of Beethoven’s output of thirty two sonatas finished awash in one of those rainy days that London can so often boast.
Strangely enough the curtain opened on this second day with the ‘Tempest’ Sonata for the second half of the Sonata cycle that has seen some of the finest young musicians partecipating with such enthusiasm and inspiration.
But it was above all the superlative playing that Hugh Mathers fifth cycle series had inspired and encouraged that was so stimulating.
As Dr Hugh Mather exclaimed it is so much more interesting to hear a cycle with 32 pianists than the more usual one man cycle.
Nothing is taken for granted as each one of these young masters approaches a sonata with their unique personality and musicianship.
It was indeed as Rubinstein had told the young musicians at his first competition in Israel:
A musical personality likened to the work of a bee,each one collecting what attracts him to make their own unique honey.
It was this continual change that was like looking afresh through a prism at these works that we have lived with for a lifetime.
I think it should also be said that it gives a professional engagement and a worldwide streamed platform to thirty two wonderful players,most at the start of a very uncertain career in these difficult times.

Why does a retired physician take on such an enormous task with three concerts a week plus these special event cycles?
I remember hearing Maria Joao Pires in Oxford playing Mozart Double Concerto with Julien Brocal a young aspiring pianist who at a competition in Monza had asked me advice about what he should do next to advance a career in music.I went backstage to thank Madame Pires for all she is doing to help these young musicians.
’What I am doing for them!’ she exclaimed ‘it is what they do for me!’
It is this spirit that hovers over St Mary’s and inspires not only the young musician but also the team of retired professionals all working to achieve excellence.
And excellence there was again today with the Sonatas from op 31 n.2 to the final op 111.Each individually shaped and tailored,played with intelligence and beauty but above all a professionality that would be the envy of any of the great concert halls in the world.
Here are a few notes that I hasten to point out are only my personal opinion – nothing is written in stone but my comments are made with great admiration and not a little knowledge I might modestly add!
Blowing my own trumpet as indeed a basset horn used to do more than a century ago.It was Bernard Shaw who used to sign his musical criticism in that way!Could it have been to avoid a black eye?

One might very well say that the curtain opened with Ilya Kondratiev’s theatrical performance of the Sonata op 31 n.2.Every note enacted as he lived every moment of this remarkable Sonata from the mysterious opening Largo to the dramatic recitativi and sumptuous Adagio and beguiling Allegretto.The atmosphere he created using Beethoven’s own revolutionary long pedal points created a magic broken only as he unleashed the Allegro in the opening movement.A superlative technical control and ravishing sense of colour brought this great drama vividly to life.

Mark Viner,fast making a great name with his recordings of Thalberg,Alkan,Blumenfeld,Chaminade and many others,tells me he has now been bitten by the Beethoven ‘bug’ which was immediately evident from his superlative performance of op 31 n.3 ‘The Hunt’.A Sonata that I remember Artur Rubinstein including in the last recital of a long career in the Wigmore Hall in 1976.Mark has a refreshing way of delving deep into the score taking nothing for granted as he bring the music vividly to life with such intelligence and superlative technical control.Had I heard his ‘Appassionata’ he asked?Unfortunately not but I certainly will seek it out after hearing his performance of ‘The Hunt’ today.Such a pastoral feel to the opening movement with a driving rhythmic energy and subtle sense of phrasing.The Scherzo was played with the same drive and irresistible lightness that I remember from Rubinstein.There was ravishing tone in the Menuetto but I am not sure about his change of tempo in the Trio ( used by Saint Saens for the theme of his variations for two pianos).The Presto con fuoco was indeed ‘The Hunt’ played with superb technical control and drive and we even discussed together with Dr Mather the fingering of some treacherously difficult passages.This sort of friendly discussion with the artist must be unique to this venue and was to lead to a heated debate later about the opening of the’Hammerklavier’ or op 111 – these are not play safe Sonatas!He who dares to venture into this territory is not for someone with health and safety regulations in mind!

A young pianist from Padua -Sofia Sacco- perfecting her studies at the Royal Academy with Rustem Hayroudinoff gave a ravishing performance of the op 49 n.1 sonatina.Played with such musicality and character.We all remember it from piano lessons but when played like this it is unjustly excluded from the concert hall.

It’s sister op 49 n.2 was played by her friend and colleague Gabriele Sutkute from the RAM under Christopher Elton.She too brought this ‘practice’ piece vividly to life.From Lithuania she played with such natural musicality.She became almost part of the piano as her natural movements and enactment of the story she was telling was similar to Rokas Valuntonis (also from Lithuania) who had enthralled us recently with his story telling in Schumann’s Scenes from Childhood. https://christopheraxworthymusiccommentary.wordpress.com/2021/09/27/rokas-valuntonis-pianistic-perfection-at-st-marys/

There are no words to describe George Todica’s fantastic performance of the ‘Waldstein’ Sonata.Standing in at the last moment for (two!) indisposed pianists he gave a breathtaking performance.Risking all ,like Serkin ,as his dynamic rhythmic energy just swept everything before him.The ravishing beauty of the birth of the Rondo I have never heard so beautifully played.Beethoven’s markings all scrupulously interpreted as he threw himself headlong into the glissandi that Beethoven cruelly adds before the celestial re apparition of the Rondo theme.

It was followed by a magnificent performance of the treacherous Sonata op 54.Only in two movements but of transcendental difficulties that Andrew Yiangou played with fearless control and intelligence .The unrelenting perpetuum mobile of the last movement took our breath away as it reached Beethoven’s unforgiving indication of Più allegro.I was not surprised to read that both Andrew and George were both formed in the class of Norma Fisher!Surpise after surprise and not a little astonishment and excitement as the temperature rose in this survey of Beethoven’s life.

Astonishment there was too with Julian Trevelyan’s ‘first’ Appassionata’.In the last series he had picked the short straw and given a magnificent performance of the ‘Hammerklavier’.He tells me though that he had been putting off the ‘Appassionata’ until today.I can understand the problem of approaching a much played work where tradition has often taken over from a close look at what the composer originally wrote!And it was this in Julian’s performance that was so refreshing to listen to and to watch.Yes,watch because there are many passages of transcendental difficulty that’ pianists’ simplify by sharing between the hands to alleviate any risk in performance.But it is just this struggle and risk that is part of Beethoven’s turbulent character.(His was not a play safe nine to five character!).Julian’s great musicianship and transcendental technical control allowed him to restore this much maligned work to the one that Beethoven had tried to portray on the written page.It was breathtaking as it was ravishing as the menacing opening was interrupted by explosions that never changed the overall pulse but swept us along to the sumptuous second subject.No changes of tempo but a great wave that took us from the opening to the final disintegration.So often played with an accommodating ritardando but here so rightly driven to the final note as Beethoven had indicated.An Andante con moto ‘Cortège’played with orchestral nobility that did not exclude ravishing beauty .An Allegro ma non troppo that exploded out of the Andante with its unrelenting driving rhythm kept excitingly under control.That is until the ‘sempre più Allegro’ and ‘Presto’ where all hell breaks loose as it draws to it’s devastating conclusion.I would have kept Beethoven’s long pedal here,but I think for clarity it was one of the few indications of the great master that he chose to ignore.Pity in my opinion.

Matthew McLachlan enchanted us with the subtle phrasing and scrupulous attention to detail with the beautiful two movement sonata sometimes known as ‘a Thérèse’ .As Beethoven himself said,irritated by the popularity of the so called ‘Moonlight’ Sonata he wrote:’surely I have written much better things:the F sharp major Sonata for instance- now there is really something’( quoted from the excellent notes of Julian Jacobson).The youngest member of the McLachlan clan,all five of the six members star pianists,recently surprised even himself by winning the coveted Chappell Gold Medal in only his second year at the RCM where he is studying with Dina Parakhina.

Op 79 the sister of op 78 brought exhilaration and freshness before Beethoven opened the ‘Golden Gate’ to his final thoughts.Olga Paliy also from Norma Fisher’s studio played with sumptuous clarity and rhythmic verve.Almost Mendelssohnian most certainly in the Andante that was a true song without words in Olga’s simple musicianly hands.A vivace with all the ‘joie de vivre’ that Beethoven longed for but was rarely to enjoy .Olga’s apparition was like a breath of fresh air in every sense – her dress was to die for – like a lemon sorbet before the feast.

And so to the farewell of the afternoon session with a performance of the Sonata op 81a – the only Sonata that Beethoven himself gave a name to : ‘Les Adieux’ but as Beethoven preferred ‘Das Lebewohl’.Played with an exemplary clarity and scrupulous attention to the very detailed indications of the composer.Mikhail Shilyaev brought a sense of wonder to the opening before the journey truly began with the Allegro.The treacherous chordal scales played with astonishing authority as the journey continued on it forward journey.There were sumptuous sounds in the Andante espressivo a heart rending ‘Absence’ before the thrilling ‘Return’ where the long held pedal notes alternated with the freshness of Beethoven’s mellifluous walk in the countryside.

Another of the McLachlan clan – Callum- had flown in from Salzburg where he is studying with Claudio Tanski to play the more substantial two movement Sonata op.90.Played with great energy and commitment and the same ravishingly subtle colours that reminded me of his Schumann op 13 that was so memorable a year ago.His playing is of a rare poetic subtlety which just added magic to the Schubertian outpouring of song in the last movement.

Ben Schoeman played the Sonata in A op 101 with subtle beauty and sense of architectural shape that united all the delicate fragments so intelligently.The almost Schumannesque March was played with driving rhythms and the beautiful long music box pedal created a magical oasis .A beautiful stillness to the Adagio whose magic arabesque leads to a glimpse of the opening ‘avec un sentiment de regret’ before the rude awakening of a fugue of transcendental difficulty played by Ben with all the authority of such a distinguished pianist.

The longest and in many ways the most difficult of the Sonatas is the ‘Hammerklavier’ op 106.Ariel Lanyi is fresh from his triumph at the Leeds Piano Competition where he also played Brahms 2,the longest and most difficult of concertos.A truly monumental performance where in particular the twenty minute Adagio sostenuto was played with an intensity and architectural shape ‘Appassionata e con molto sentimento’.Of course who would ever forget Serkin’s performance years ago in London when he was in his 70’s.Ariel only 23 was every bit as convincing – Serkin was strangely even more Appassionato though but the intensity and commitment were the same.Overwhelming indeed.The first movement leap of course played with one hand – Serkin insisted on that – and anyone who wants to play safe has chosen the wrong work!The Scherzo was played with a fleeting energy and the Trio created a carpet of sound on which the melodic line was contained as it passed from treble to bass.Beethoven’s tempestuous impatience was thrown at us like a slap in the face before the tongue in cheek ending of the Scherzo preparing us for the great journey before us and the explosion of energy in the treacherous fugue.A magisterial performance for a true monument.When you realise that the performer is only 23 one is left,bewitched,bothered and bewildered not to say completely breathless!

The first of the final trilogy op 109 was played by Julian Jacobson with the remarkable authority of someone who has played all the Sonatas in a one day marathon – all from memory except the Hammerklavier he tells me.His authoritative and informative programme notes for this entire series has been an indispensable guide to this great journey.I must say I was surprised to see him stealthily using the left hand for the top note of the Adagio espressivo chord on the tenth bar and I must remember to discuss that with him.Julian has been a consultant together with Leslie Howard for the definitive new Barenreiter Urtext edited by the cellist Jonathan del Mar.Some magical sounds in the opening movement were rudely interrupted by the vigour and technical assurance of the Prestissimo before the rich orchestral texture of the last movement theme and variations.Added bass notes too in the tumultuous final variation just showed that the better you know the score the more freedom you can take .The final two chords after the tempest had subsided were judged to absolute perfection.

Petar Dimov another pianist from the studio of Norma Fisher stood in at three days’ notice for an indisposed artist and gave a ravishing performance of what must surely be the most perfect of all sonatas.It is like the Barcarolle in Chopin’s output that is the jewel in the crown. An outpouring of song from the first to the last note.It was this subtle intimacy that Petar captured as he barely touched the keys allowing the notes to vibrate in this magic world that Beethoven had discovered.Beethoven’s detailed markings especially with regard to the sustaining pedal were beautifully incorporated into the magic.The Arioso dolente just floated on a magic carpet of sound as the fugue crept in and out in an embroidery of thoughts that led to a final exultation that surely must have been the inspiration for Scriabin’s own shining star.

It was left to Sasha Grynyuk to utter Beethoven’s final words.The Maestoso of the op 111 was of course taken in one hand as the three great blocks dissolved into a seething mass of sounds boiling over at a hundred degrees (to use Perlemuter’s own words).Dissolving as the ‘Appassionata’ had done but this time to C major for Beethoven’s last moving farewell.Played with absolute stillness and perfect poise as the variations unwound leading us to a paradise of trills and barely suggested sounds.We can only marvel as this world is revealed with a simplicity and total mastery by Sasha and wonder how Beethoven could transcribe for eternity the celestial sounds only he could hear in his head .Is it genius or is it a miracle – Bach,Mozart Beethoven words are not enough or even necessary……..maybe a great poet could come as near as is possible ………if music be the food of love …….. .play on.

P.S. From Julian Jacobson

Dear Christopher
Much enjoyed and appreciated your warm and generous review of the Perivale Beethoven weekend, as well as your kind comments on my own performance.
You noticed a couple of eccentricitudes (to quote Ogden Nash)! I was brought up in the purist 50s and 60s never to rearrange, add notes etc. But in adult life as I got to observe and sometimes personally know some great pianists I found that they all redistributed notes, and added or omitted some. (I also got to know Alfredo Casella’s edition of the Beethoven sonatas!) Brendel adds the bass B flat to the last chord of 106 and splits it. I once heard András Schiff obsessively practising bars 3 & 4 of op 106 1st movement with only the upper G and Fs on the chords over the barline, and that’s how he seems to play it (which I think is going a bit far!).
The taking of the upper A and D in bars 9 and 58 – a brand new practice for me – was entirely in the service of tone, to separate it out from the harmony grace-notes and avoid any possibility of a thin 5th finger sound. I quickly retook the notes with the RH 5th finger.The extra bass Bs in the final variation are more contentious for sure and I might not do them again: they were just a spontaneous reaction a few days ago to the overwhelming ecstasy of the passage and I thought I’d keep them in for Sunday. I don’t add any of the usual extra notes in the Prestissimo, even if they’re printed in Henle etc, and positively dislike them. But I noticed – for instance – that Ronald Brautigam adds extra bass octaves in the 2nd movement of op 54, even though he is playing on the fortepiano and one might have expected him to be super-authentic! I guessed at his thought process:
– the bass line makes little sense with the lower octave dropping out;- just a few years later Beethoven’s piano had those extra notes;- Beethoven would surely have added them at that point, or asked Czerny to add them in performance.
So we have the anomalous situation of Schnabel (for example) being more authentic and purist than Ronald Brautigam. But I must remember to ask Ronald (who is our BPSE Honorary European President since Paul Badura-Skoda’s death) if that was indeed his thinking! 
Naturally I didn’t take your points as criticisms, on the contrary delighted that you noticed them.
All good wishes