Page: 
Source: 
p. 1, b. 1-24
p. 1, b. 1-24
p. 2, b. 25-51
FE1 - First French edition
Main text
GC - Gutmann's Copy
FE - French edition
FE1 - First French edition
FE2 - Corrected reprint of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE1a - Another copy of #GE1
GE2 - Second German edition
GE3 - Revised impression of GE2
EE - English edition
EE1 - First English edition
EE2 - Corrected reprint of EE1
EE3 - Revised impression of EE2
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GC - Gutmann's Copy
FE - French edition
FE1 - First French edition
FE2 - Corrected reprint of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE1a - Another copy of #GE1
GE2 - Second German edition
GE3 - Revised impression of GE2
EE - English edition
EE1 - First English edition
EE2 - Corrected reprint of EE1
EE3 - Revised impression of EE2
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  b. 15-17

 in GC

 in FE & EE

 in GE1

 in GE2 (→GE3)

 suggested by the editors

The  hairpins written in GC are certainly too long – leading the diminuendo one quaver beyond  placed at the beginning of the new phrase is unable to be performed in a noticeable manner (cf. the Etude in A minor, No. 11, bar 16). Therefore, in the main text we end the sign still in bar 16, in accordance with FE, EE and GE2 (→GE3). In turn, both potentially authentic moments of beginning the sign – in GC and in FE and EE – are, according to us, equally justified, as far as the music is concerned. The slight shift of the beginning of  in GE is a typical inaccuracy of this edition – adjustment of the range of the sign to the rhythmic structure (most often to beams).    

Compare the passage in the sources»

category imprint: Interpretations within context; Differences between sources

issues: Scope of dynamic hairpins, GE revisions, Inaccuracies in GC

notation: Articulation, Accents, Hairpins

Missing markers on sources: FED, FEJ, FES, GE1, GE1a, GE2, GE3, EE1, EE2, EE3