QUOTE(Yet another muso @ Feb 9 2012, 12:27 PM)
One of my favourite pieces! I will outline the solution that works for me in case you'd like to try it out. Basically I take the entire melody in the right hand, but find that life is made much easier and indeed the musical effect is more fluid if certain notes from the triplets in the lower stave also go in the right hand.
So for the first two bars of the piece, you might be surprised that I only play the first note of the bar and then the 7th and 8th notes of the bar in the left hand, but play the other notes in the right. There is no rule that says left hand must play the notes in the lower stave, and it aids in giving a much simpler more even opening. Then in the third bar (where the melody starts), I take the second note of the triplets (the A top line of bass clef) with the right hand thumb. The right hand thumb naturally sits there anyway, and it gives so much more time to enable the left hand to cross over to play the rest of the bar, therefore aiding ease and fluency. This trick works for the second note of the lower stave in almost every bar of this passage. Sometimes it is best for both the second and third notes of the lower stave in the bar (bars 9, 11, 12 and 15). The spread in bar 6 is also easiest taken in the right hand.
Give it a try, I hope it helps.
Thank you, that was indeed helpful
I experimented with various fingerings last night and I decided, like you, to keep all the melody notes in the RH but allow the RH to take on much of the accompaniment, except I found it effective to allocate even more notes to the RH, so that the LH only needs to cross the RH melody in the last beats of measures 5, 9, 11, and 13. I think my teacher will approve because she usually encourages lots of note redistribution, but I might still ask her to listen without looking at my fingers the first time