When I played it, I didn't worry about keeping the left hand legato on the third page with that descending line of accented notes. For each accented note I allowed my hand to jump positions which gave it more of a bang and helped bring it out.
On those chords on the second page just do the best you can. Depending on your hand size, everyone will take a different approach fingering wise. Most importantly aim for the top notes to be legato even if the rest aren't always. Sometimes this is not possible and you will have to use the pedal. I think that I re-adjusted my hand after each tie, so I tried to keep the last 3 sixteenth notes of each bar and leading from them into the next bar legato, but after the tied quarter note I would move my hand.
Here are the fingerings in my edition, bar.19 none given. Bar. 20, Beat one none given, beat 2 - second 16th note (the one after the tie) 531 then 421 then 521 then back to 421 on beat 3. Beat 4 second 16th note again goes 531 ( see they move their hand after the tied notes, too) followed by 421 then 31.
Bar. 21 beat one 421 held through tie then changes after tie on the second 16th note of beat 2 to 542 then 531 then 42.
Bar. 22 starts with 321 then on beat 3, 2nd 16th it is 421 then 531 then 421 then 531 on beat 4 followed by 421 then 531 then 421.
Bar. 23 starts with 321 and then fingering is not given until the last 16th note of beat 3 which is also 321 (so you'll have to figure out what works for you on the 2nd and 3rd 16th notes of that beat). Beat 4 continues after beat 3 with a 421 then 53 then 31 then 42 and then in the next bar it begins with 51.
For page 3, left hand accented notes only: Bar 26 -- 4 4 5 5
Bar. 27 -- 5 5 5 (last F# is not given a finger number, so do whatever works)
Bar. 28 -- Eb not given one, then on the D they have 5, but I used 3 (that way you can go 345, and 345 again with the last "5" being the F# of Bar 29.
Bar 29 continues then after 5 with 5 again, then 3, and the D isn't labled, but I think I might have used 3 again on it.
On the last page in abr 41, I personally found it easier to just take the G, Eb and C that are the quarter notes of beats 2, 3 and 4 with the thumb of my right hand so that I could hold them for their full value. You could possibly pedal them to get them to keep full value too, but I just choose to learn it the other way instead.
Bar 43 - I never did play that run at the speed of the recordings and it sounded fine, just go as slow as you need to. Better to have it a bit on the slow side than sloppy, especially since it's your grand finale.
Also, consider using the sostenuto (middle) pedal if you have it for those whole notes at the beginning of bars 30 and 32. Grab those chords with just the middle pedal, then use the damper on the next 16th or 8th note and get rid of it by the rest at the end of the bar, but keep the middle pedal down, so you lose the run in time for that rest, but keep the growl of the original whole note chords.
Make sure that you put the middle pedal down first because if your damper pedal is lifting the dampers off all the keys when you use the sostenuto pedal, the sostenuto pedal will then sustain everything just like a second damper pedal instead of just the chord. You can only have the dampers lifted from the exact strings you want when that middle pedal goes down so also make sure that ALL 4 notes of the chord at the beginning of bar 32 have been played before you put it down or else you will just catch the first ones. It's a bit tricky to get the timing of the pedals just right. I usually put my foot over the middle pedal to get ready to press it during the ritard at the end of bar 29. That saves time trying to "aim" your foot during bar 30.
If you don't have a sostenuto pedal, then I'd just pedal through the rest at the end of the bar, personally, maybe flutter pedal a bit and taper the sound off during it, then have a proper rest in the following bar.
Hope this all made sense!
Topic: Etude-Tableau in G minor - hand issues