....It was clearly written as a RH arpeggio....
What about the score makes you think it's written for RH only?
If anything, we could say it's written for both hands, because the latter part of it appears on the bass clef. I mean, that's wrong too, but I could at least see that there's some basis for it, however mistaken it is.
Do you mean because of the fingering
in your edition?
What makes you think that's by Chopin?
BTW, let me say, although I'm disagreeing with you, I really appreciate that you're willing to follow through on this discussion. In my experience, most people who assert something like what you did then just run away when asked what's their basis.
....and does sound different when played with both Hands....
Good point, and let's take a look at that.
The ways that I try dividing it, and the way I currently play it, are very much dictated by how I want it to sound -- and the way I want it to sound, it goes much better with the re-distribution than with playing it all with one hand (as I said before). That's one reason why I do it.
And if someone wants it to sound the way you seem to be implying you think it should go -- i.e. basically continuously smooth (I guess) -- part of the challenge of playing it redistributed, if they choose to do so, would be to make it sound just as it might if it were played with the RH alone. BTW I would say that's Zimerman's interpretation, and he succeeds 100%.
....the e-flat seventh cord at the end of his op 53....
I think you better identify it more. I've known the piece for about 1000 years and performed it many times, but offhand I have no idea what chord you mean.