I'm listening right now while I'm typing, and first of all, as I think other people might guess, it's not that bad.
And at least so far, it's quite good.
Just a general comment about "I love this piece so much, but I have such issues with it." I don't know if this is relevant to you or this piece, but.....
Wait a minute, I had to interrupt myself because I just got to the entrance of the last movement -- and I think it's GREAT. To me, your transition from the 'intermezzo' (or whatever it's called) is delicious, utterly perfect in every respect. The completion of the thought at the end of the intermezzo, the pause of exactly the 'right' length, the 'subito' of the entrance of the last movement and bingo
being right on it as though there hadn't been any pause -- it's just perfect. And IMO the whole last mvt is terrific, even with the occasional little glitch (which I hope you're not worrying too much about).
I won't listen to the 1st mvt because of your warning
but I bet that's not too bad either.
....but back to what I was about to say, about loving the piece so much and having issues with it: I sometimes have the most trouble with the pieces I love the very most, seemingly unrelated to anything that's really so hard about them. I assume that I wouldn't be prone to such things if I weren't an amateur, if I were more seriously trained and at least a bit better, but maybe people at any level can be prone to this. I think the problem might be (besides that maybe I've just played the pieces too much) that I feel so extremely strongly about everything in the piece and that I know it so thoroughly, I try to put everything into every note, and there's so much I want to be saying in every note, that the overall flow and message get obscured, plus I'm too intense and so I just screw up because of the tension. Dunno if this is relevant to you -- I didn't particularly hear anything like it in this playing for the most part, but I must admit I did wonder about it in the opening phrases. Nothing 'wrong' with what you're doing there, and this is very much a matter of opinion about what's going on, but to me, those 3-note phrases had 'too much love' in every note, at the expense of better shaping.
I know that the shaping is complex and debatable. On one hand it's a "sigh" (much like the opening of Chopin's G minor Nocturne from Op. 37 which has been discussed recently in Carey's threads) -- and a 'sigh' ends with a tailing-off. That would mean that the 3rd note is (probably) soft. But, it's a half note, which usually would mean some emphasis. I'd still do it with a 'tailing-off,' and to me, playing it your way sounds like you're putting too much love into every note.