I want to share something here, and hope it is worthy for you to ponder:
There is a ratio between practicing a piece and performing it, and it varies by the pianist and the particular composition at hand. For example, for a certain piece, after it's fully learned, the ratio might be no more than six performances following one spotless play-through in practicing mode. For that same piece and a different pianist, it might be no more than four performances after doing it in practice mode. Or 12 performances, or whatever. Like you, my ratio is pretty high, that is I can do perhaps 15 performances following practice mode.
But here is something I've noticed as a pattern during an especially long (and grueling) recording session: The first several recordings might be accurate, but there seems to be nothing really special about them. They sound, well, too mundane. During the next several attempts thereafter, I find that I'm playing with more confidence and artistry, and that the "takes" seem more up to my own standards and expectations.
As I continue on in the session, a new phenomenon eventually creeps into it. I find that in several sequential recordings that some errors have occurred, some for the very first time. Instead of continuing, I stop the recording each time and delete it. (That's a cue that gets my attention.) The explanation is easy to figure out--I more than exceeded my own practice/performance ratio. My experience with the phenomenon is that from then on, the session will inevitably only go downhill with increasing attendant frustration. Persistence and more time spent will then be futile. This is because the errors, much like spurious thoughts, interrupt concentration and increase tension which countervails relaxed playing. I've determined that once this erratic playing has occurred on four or five attempted "takes", the session cannot be productive, so I stop there and turn off the equipment and quit for the day.
What I do then is to get my headset and audition all complete takes that I captured during the session. Through elimination I find and keep the best recording, but eliminate all the others. That one I retained becomes the benchmark to be bettered in the next session.
At the next opportunity I first revert to practice mode to recover and refresh my capabilities in playing the music. Once I'm satisfied, then I can move on to recording mode which is then usually successful.
I believe, Monica, that in this instance you probably went too far for too long (that is to say, 50 takes), so the desired result eluded you. And where your wrist was aching, it could have even been dangerous! Bottom line: You likely stretched your practice/performance ratio way past its outermost limit.
I realize and respect that your work method might be quite different from mine, but I hope this might somehow still be helpful.