Beethoven and C minor Puns

(Pianist - Pogorelich) https://www.youtube.com/watch?v=YE2iyBRmA_g&t=1062s boogie-woogie-ish part -16:47

How did the audience of Beethoven perceive this specific boogie-woogie-ish section, when the sonata primered? The sound is probably very different to what people have heard back in his days, Beethoven was indeed beyond his time. I'm just curious on perspectives and opinions of this particular boogie-woogie-ish part, from the public and music critics back in the days when this Sonata No.32 came out (if there were any). Surely the boogie-woogie-ish part would've caught the attention of the audience back then too, though it is quite a brief section.

And I'm not sure if I should say it's 'boogie-woogie-ish' since I'm not familiar with boogie woogie, or jazz, or blues..

Anyways, I personally loved it, and did not expect Beethoven to play with my ears lol. And what do you think of the Sonata?

I used to listen to the Brentano String quartet’s recording but the excessive breathing freaked me out. Plus I think the first violinist ran out of bow in the last note. Any better recordings?

Considering taking this piece for a diploma and want thoughts on difficulty and enjoyment.

For some background I'm a pianist who studied a lot of Beethoven in college. Every college student will tell you, there's no escaping Beethoven. There was indeed a long period after finishing school where I did not play Beethoven because I had studied so much of him. So I am well versed in the three periods and consider the late piano sonatas to be sacred territory with the Op.111 Arietta being one of the wonders of mankind.

I had not yet listened to the late string quartets and decided to put on Op. 132 while I folded laundry. The first movement grabbed me immediately. I had realized the key of A Minor isn't really used by Beethoven a lot. There are no piano sonatas or concerti with the same primary key. I can only think of some Bagatelles or the Violin Sonata. Anyway, all of the characteristics of late Beethoven were there. A delightful second movement melody in 3/4 time was pleasant.

Then it came the Molto Adagio (why isn't this written Adagio Molto?) which stopped me completely. The tears that it brought me were not of sadness but utter beauty for what I was listening to.