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Cortot endorses the redistribution I mentioned for 223/225 as his personal choice and says it’s a guarantee of an ‘audaciously gleaming’ execution.
The technical difference is not ‘minute’ at all.
I don’t think anyone could tell the difference in a recording or even live. This measure is loud and frenetic, and a skilled pianist can control slurring and voicing.
So how about m 128 - the 4th and 6th semiquavers of the right hand? Sure they’re part of the right hand’s voice, but it’s a very awkward reach. Giving them to the left hand isn’t just easier, it’s more musical. (Cortot is silent on this, but that variant is shown in some editions.)
‘More musical’ is a good enough reason for me. This isn’t an etude, so trying to conquer a technical detail at the expense of the music doesn’t make sense to me.
Loc: Manchester, UK
Oddly enough the passage that you mention is one of the places where taking something with the other hand would quite obviously make it technically easier, but in the end I decided against it. I can't recall why.