Jeffrey: I echo the above, and great to see you as always!
I have tried many, my favorite being sliding from the A to the G with finger 4, or starting on the finger 2 and moving over, another solution is cheating as Earl Wild seems to and play a B natural....
Im@me, indeed that's tricky, but really the whole intro is tricky and I don't see that this is any trickier than the rest. Also I don't think B-natural makes it any easier, and if Wild played it that way, I think we can be quite sure it was either a musical choice or a mistake of reading, not something to make it easier.
Anyway....there are two fingerings marked in my edition (Carl Fischer). The main one is just the most straightforward fingering:
It also suggests:
124313 213432 -- and that's what I used, when I played the intro at all, which, as I said, I usually didn't, and not just because it's so hard.
Did you not think of these fingerings? (Neither one is that terribly out of the way.)
If you just considered them not doable, why not?
BTW, Lhevinne, besides leaving out almost the whole intro on that recording and also leaving out one of the themes, also shortens the "poco a poco crescendo" section of the coda, which to me is a huge improvement. (Or, as Huneker or somebody said about shortening the recap of Chopin's 1st Scherzo, "the gainer thereby." That always struck me as a nice and useful phrase, although I've never seen it elsewhere, before or since.)
As Schulz-Evler has that passage, IMO it's a near-ridiculous PDQ-Bach-ish endless sequence. (Jeffrey, apologies to you
-- I see that you play it as written.) Lhevinne cuts more to the chase, and to me it works great.