Here is maybe the most well-known piece from the 24 Pièces en style libre Op. 31 by Vierne, no 21, Carillon.
However, that piece has a peculiar problem since it is clearly written with an organ (2 kbs + pedal) in mind. However, the Carillon, as the whole collection, is published on 2 staves so it could be played on harmonium or organ without pedals.
For the 34 first measures (and at the end, mes. 83-102), Vierne indicates that the sonnerie ostinato should be played on the pedals while the chords are intended for the hands. However, there is apparently nothing for the left hand!
I have wondered a long time what would be the best solution for that problem. The left hand must play along the right, but will the 4 note-chords be divided between both hands? A thin texture will result while obviously Vierne wants full chords on fffull organ.
Since a full texture is clearly intended, as in many other organ works by the same composer, the left hand could fill the chords playing one octave lower. It is the solution I have chosen as the most logical and musical in the circumstances, taking care that the lowest note of the left hand outlines the melodic design of the right.
Later in the piece, the repartition of the notes between hands and feet is clearly managed.
Mes. 109-114: should the crotchets on the lower staff be played with the left hand or with the feet? Vierne is not very clear here too. From my experience, most organist fumble and tumble when they strike these abruptly difficult measures. Not convincing musically!
My proposition is that they should be played with the left hand: more natural and musically a contrast, since the heavy pedal part is interrupted for a short while. It comes back gradually from mes. 113 for a glorious conclusion.
So, that was the story of a beautiful showy piece, conceived for full organ by its author, but reduced for 2 hands. Vierne, himself a reputed improviser, probably thought that any good organist would find his own solutions.