A main concern is how to render this four note phrase. In my personal opinion you should not pedal the downbeat where the phrase ends. In the RH it is marked with a staccato dot - because of the slur it might be played more like portato, but should in any case neither be sustained nor carry an emphasis. .... When the phrase appears in the LH you do this better,
Very interesting, we are agreed that he does it differently when the phrase is in the other hand, and that it should be more alike. Personally, though, I prefer his RH version to his LH, I would rather the LH staccato notes were a bit less short. They should be no less sustained than the way the RH played them earlier. Inasmuch as any difference is affected by use of pedal, then it ought to be applied fairly - if the RH gets it, the LH should get it too.
though I would still not emphasize the downbeat as much.
I completely agree. I suspect part of the idea of marking them staccato is to take some of the weight off them, and if one is going to compensate for the reduced note length by increasing the loudness of what's left, it's achieving an effect which is probably not intended. But we can only speculate.
For the trills in the second theme I would more emphasise the first note more, to get better stability of rhythm.
The stability here (assuming you're speaking of bars 43-46) is already much improved from the previous version, but I agree. I think he is playing these "trills" (actually mordents) as two fast notes before
the main note which in turn he plays on the beat, and is therefore accenting it; I reckon the first of the two fast notes should come on
the beat and receive the main emphasis.
I think that in these four bars the hemiola aspect (this being in 3/8 time, but with an accent occurring every two beats it feels almost as though we had 6 bars of 2/8 instead of 4 bars of 3/8) is now overemphasized to the detriment of the underlying triple time, of which we should not completely lose sight here.
In bars 67-70 there is a curious effect as though some prankster were fooling around with the volume control, dimming out the middle of each bar. With the exception of a solitary occurrence in bar 15, this is the first time in the entire movement that the RH is silent for the entire second beat (and part of the first, due to that being staccato), and this is creating a "hole" in the overall sound level (well, four holes, since it happens in each of these four bars). Perhaps the middle two of the LH semiquavers in each bar could be beefed up a bit to compensate. Either that or a bit more pedal could help bridge the holes.
The 16th bar from the end (the bar after the chromatic scales in octaves) is still coming out as a 4/8 bar (note, rest, note, rest), it should be 3/8 (note, rest, note) with the 3rd beat note to be considered a definite upbeat to the following bar.