I didn't find any interpretive problems here with the Appassionata, yes the pacing, the momentum tells the entire story in Beethoven, for he was a purveyor of music materials, scales, figures melodic, shapes, thrusts, chord progressions, developmental schemes, variations,all to be manipulated,truncated; he never wrote what you might say is a "beautiful" melody, he was far smarter than that, and interested in music's other parameters. Biss here keeps, maintains this momentum (the First movement)and again you must listen for the larger sweeps of phrases not from moment to moment, for that could be fine, but the larger phrases need to be correct, to be rhythmically on the mark,something Leonard Meyer referred to as the architetonic dimension of pulse and rhythmThe last movement tells the entire story, here if you begin it too, fast, you had better run, hide someplace, for F minor will be a key that will never forgive you.Biss understands this here whether intellectually or intuitively he has it. There was some nice moments in the Beethoven you feel that he wants to push it at times but that only leads to a dangerous abyss. No he doesn't have the mature vision of Rubenstein or Richter but he's there pitching with them noentheless.
This is the best Schumann I've heard in a while, incredibly lyrical,like Biss is playing the "pop" tunes of the day. He has a wonderful sense of melodic direction, knows where things are going, a phrase, and knows what such a melody might do to one, he nurtures this quite well.Biss seems to understand the points in Schumann that could be boring,like his mundane accompanimental figures, or the obvious chordal fills, you must nurture these as well, for chordal display is important in Schumann. He is difficult to interpret, like Haydn, there is no "kugles" manufactures for each of them,so it is music you must work at. Schumann can be difficult unless you do emotion "root canal" work as Michelangeli sometimes, exploring the extremes of Schumann's aesthetic, like he was a mad man, well mad men make incredible music we know, and isn't hte transgressive, the irrational an important part in dealing with the romantic credos. Schumann saved Romanticism from the tyranny of Beethoven's symphonic revolution, he saved it with the private, introspective, parochial lifeworlds to explore. Likewise Biss's "Fantasy in G Minor" of Ludwig has the same discipline required, impassioned but not overly so.
There is another recording I beleive of Biss playing the Appasionata, for I heard even more balance and numance in that one.