Heh, tempo is rarely taken 100% strictly from the score. The tempo markings also have ranges of BPM to them. Plus those passages in the beginning are of piano alone, they're purposively shining moments of the piano itself, and pianist should see how to best play them in suitable tempo. On top of all, I mostly ignore any markings related to dynamics or tempo in scores, because I believe all I need is in the notes - enough to let me know the piece, understand it, and transfer it forwards. "I am just a messenger", why would we all need to deliver the exact same message as the composer intended? As I said in another thread, composer is just an interpreter as well, but on a larger scale. This shouldn't make us mere musicians invalid at creation, even if we're creating on base of creations. I've only heard two recordings of Totentanz, one by Cziffra and the other pianist I don't know. Cziffra alters tempo a lot in his interpretations, to his advantage, and so he does in Totentanz. His version has some horrible tempo alterations here and there, its a bit shame since his playing is very expressive in the more sensitive phases. Also he seems to "bang" a bit too much at times, something I would blame Horowitz of, too.
Oh yes, one thing is for sure: If we could find recordings of Liszt's playing now (isn't it ironic how sound recording was being invented around last years of Liszt's life, just bit too late), it would be a disappointment. God made Liszt an inspirer for so many people and the stories about his divine playing will help keep something alive in those people. The stories, the pictures of Liszt and his hands, blending into something colourful via our imagination is by far of greater energy than any recorded audio.
Topic: Is Liszt's Totentanz The Hardest Piece?