Liszt Legend no.2

[SDL]

Does anyone play the L.H transition before the repeat of the 1st subject with LH e major scales with 2 hands?  Ive heard 2 recordings (Jeno Jando - yuk, and MArk Anderson) play it and no way does it sound like they could do it with LH only (as is written) since it goes at watery speed up into RH register. 

Anyone else know or have an edition which indicates the line split into LH & RH registers?  Or tell me what you do in this section.

[lostinidlewonder]

Which bar/measure?

[SDL]

I dont have the music with me at the moment, but if you know the piece its the only bit in the piece thats written for the L.H stave only (the solo left hand section before the theme joins the left hand in E major (the waves or 2nd 'variation/development' of first theme which eventually leads to new material). 

[lostinidlewonder]

I would play it one handed. These fingers
Bar 36
4321 3214 3212 1245 4321 3214 3212
Bar 37
1235 3213 2312 3432 1234 1213 2312 3432   so on
The thumb stays above its note while you cross over with the 323 movement. That is a particular form in the run which repeats itself.

Pedal is of course stuck down the entire time. I think it would sound different if played with two hands, play it with one.

[SDL]

 I have performed this work in public with one hand in this passage. DONT stick the pedal down all the way!!  You need dabs (around the top end of scales, off on the bottom notes)of it otherwise it all sounds messy and not the effect sounding like waves Liszt is trying to produce.   You should be able to hear clear fingerwork although not too dry.

However, I posted this question because Ive heard this passage played at a terrific speed which could only be done RH and L.H the way Jeno Jando and Mark Anderson does - Ive tried this both hands too recently and I get the same effect as they do.  Otherwise notes are played more portando at high speeds not legato ( -  you can tell by listening closely to the effect they make - almost overlapping glissandi like).  If by any chance Im wrong about this Id love to see someone play it L.H only and sound like Ive heard it.  Im pretty sure I heard Boris Berezovsky say to a student once as well to split it between hands but its all hazy in my mind. 

 I just wondered it anyone had a score with something different here - like the notes go accross both staves as I dont have a particularly great edition (Peters).

[lostinidlewonder]

Its supposed to be a watery effect. All other pieces use a held sustain pedal, so i dont understand why you wouldnt use it here and use it sparingly.

[SDL]

When you are in a recital hall performing all that sound would merge into one.  Also sustain pedal also adds to the volume naturally because of the resonance and I want my dynamics to rise and fall subtley.  Im always thinking of the end performance because in a practice room it sounds different and dont have to project out as you do in a recital hall.

From the start (D# in the bass off the top of my head  ) in the L.H upwards Id pedal and on the descent Id take it off and reapply on the upwards scale again.  When you reach the top (F# above mid-C ?) on the descent Id pedal every 1/2 bars and at the bottom register take off again and re-apply on the ascent (the Emaj scale starting on the B (2nd inversion) Emaj chord.