Page: 
Source: 
p. 5, b. 79-103
p. 1, b. 1-13
p. 2, b. 14-28
p. 3, b. 29-53
p. 4, b. 54-78
p. 5, b. 79-103
p. 6, b. 104-119
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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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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. 79

 in GC (→GE1) & EE

No sign in FE

 in GE2 (→GE3)

According to us, regardless of how the difference occurred (in the sources there are no clear traces of possible corrections in this regard), omission of the  hairpins in FE was a conscious and final decision of Chopin. In Chopin notation, this kind of sign emphasises the note or group of notes, which in this case would suggest beginning the phrase of the middle voice together with the return of the main thematic link in this part, contrary to the later, consistent markings of FE.
Extension of the sign in GE2 (→GE3) is a typical for this editor routine revision.

See b. 58

Compare the passage in the sources»

category imprint: Differences between sources

issues: GE revisions

notation: Articulation, Accents, Hairpins

Missing markers on sources: GC, FE1, FE2, FED, FEJ, FES, GE1, GE1a, GE2, GE3, EE1, EE2, EE3