Well done, a veritable tour de force. This would benefit from a few improvements, but on the whole it's very nice.
Beethoven's metronome marks are widely considered to be questionable, and for the first movement 132 verges on the ridiculous, 120 is plenty fast enough, and even that is not necessary when it would be a struggle. It's more important to find a speed at which the semiquaver triplets (at about 0:30 and similar places) are reasonably comfortable, and then not to play the rest of the movement any faster.
I don't know what it is in the section from about 0:57 where the semiquavers start in the LH, but they seem to press a feeling of urgency upon the relative calm of the espressivo melody in the RH; maybe the LH is just a bit on the prominent side here.
This movement is quite long and IMO would lose very little by omitting the exposition repeat. You'll need to avoid that audible page turn noise at 4:03, especially since it comes again at 4:05.
In the 17th bar after the repeat, at about 4:20, there is an unexpected, and no doubt unintentional, prominent accent on the second semiquaver. At about 5:28 there must have been a lapse of concentration leading you to play all four of the upper notes as G#, instead of A and B for the middle ones, as indeed you do correctly four bars later.
The second movement, which I rather like, exposes what seems to be a curious tone quality of part of the register of your piano: I get the impression of a kind of resonant cavernous sound affecting the low notes which begin the movement, especially the E. Does it really sound like that in the room or could it be a side effect of where and how the microphones are placed? The somewhat comical quality of this sound jars slightly with the solemn, almost funereal, character of the movement (I did actually play it at a funeral once).
These plodding notes, by the way, are a little too long. The part is clearly marked "tenuto sempre" above (applying to the upper three voices) and "staccato sempre" below (for the plodding notes), and these bottom notes have staccato dots on them in addition to being written as semiquavers with semiquaver rests inbetween, the implication being that they should last roughly a demisemiquaver, but it sounds like you are playing them at pretty well full semiquaver value (as though they were staccato quavers).
In bar 17 the LH notes are slurred in octaves, but you seem to start the slurring already in the last beat of the previous bar (about 1:25), where the last two notes ought still to "plod".
At the coda (about 5:06) your ff is sudden, I have a hairpin crescendo in the previous bar and a half building up to it, but that may just be editorial. However, you have allowed your tempo to creep up too much before you arrive here, so that when you play the return theme at the right speed (relative to the beginning) one really notices that the brakes have come on. It might almost be an idea to play the whole movement a notch or two faster if this were to eliminate the temptation to speed up in the lyrical bits.
In the scherzo, I reckon the first notes of bars 1, 2, and 3 (and all similar places) need to be shorter, given that they are marked staccato even though still within the slur from the semiquaver group which announces them. You may not be aware of doing it, but you're lengthening the first chord of bars 4 and 8 by about half a beat, despite sticking to the correct rhythm in equivalent bars 12 and 16.
You insert an unwritten crotchet rest into the last bar of the scherzo (1:04). Naughty! A gap before and after the trio is quite all right, of course, especially if the trio is going to be a touch slower, but there shouldn't be one on the scherzo repeat.
The last movement is pretty OK, really. Occasionally a little too much pedal blurs what's going on. I like how you manage to fit in all those notes in the 1st bar after the second change of key back to the major (3:50) without getting behind much, or at all in the 5th and 13th bars (4:00 and 4:18), but take care not to celebrate these successes by speeding up in the 7th and 15th bars (4:04 and 4:22).