Opus 106

The greatest of all piano sonatas ever written is a Mount Everest in terms of technical demands and interpretatory problems. 2 highly interesting versions can be heard here. A stupendous one on a modern piano with German pianist Georg Friedrich Schenck. It beats most other modern versions and offers great insights into this work.
The second version is a fortepiano interpretation of unknown origin, which has been sped up to the metronome mark which Beethoven demanded for the first movement. Radically different from what the ear is used to it also offers a glimpse into what Beethoven might have wanted to express here. Impossible to state any definite answers to this particular problem of interpretation. I would assume the metronome marking wasn’t meant to be kept strictly for the whole first movement, but who knows ??