Pollini blows my mind in Beethoven...I think his structural grasp is a huge benefit in these later sonatas in particular, where the musical forms are so radical. Take e.g. the slow movement of the Hammerklavier - he has no trouble making those 17+ minutes hold together. Also - the 'cool' thing - I do understand this, but I don't necessarily always sign up to the characterisation. The way he treats the repeated G major chord in op.110 before the inversion of the fugue just at the end of the piece is mesmerising and almost shocking to me in his hands; or for another example, the intensity of the last movement of his op.57. Anyway - for sure just a personal thing!
I can't wait to hear his just-released new recordings of 109, 110, and 111.