I think Frank was referring to the alternating D# / E notes, which are elsewhere in the piece played with the RH only, but in this case the LH/RH alternate for several D# / E pairs.
And for example, IIRC (can't check right now), my Henle edition also has this alternating LH/RH pattern in measures 38-40. But other editions play those notes in 38-40 with the RH only, but also use the LH/RH alternating pattern in 13-15. So why the difference?
An explanation might be, that in 13-15, after playing the high E with the RH, it is easier to start playing the D# / E pattern with the LH, otherwise you have to jump back with the RH quite quickly (and this does not apply to 38-40, so maybe that's why some editions notate this part in 38-40 for RH only).
But if you start the D# / E with LH, then at some point you have to switch from LH to RH again.
Personally, I don't have an explanation why this switch was notated in this fashion (i.e. switching back to LH once more after only 2 notes in RH, before then finally switching to RH for good). Maybe just because it looks more "virtuousic"?
I certainly feel more "virtuousic" when I play them in this fashion.