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b. 14

composition: (Op. 4), Sonata in C minor, Mvt II

Accent in A (→GEIE)

No mark in FE & EE

..

The easiest explanation for the missing accent in FE and EE would be the engravers' oversight.

category imprint: Differences between sources

issues: Errors in FE , Errors in EE

b. 14-15

composition: (Op. 4), Sonata in C minor, Mvt II

..

In A the  to the bottom note of the 1st L.H. octave is missing. The patent inaccuracy was corrected in GE (→FE,EE,IE). Moreover, cautionary flats were added to the B1-B octave in bar 15, which we include in the main text.

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , GE revisions , Inaccuracies in A

b. 15

composition: (Op. 4), Sonata in C minor, Mvt II

 before 3rd crotchet in A

 under 3rd crotchet in GE (→IE)

 after 3rd crotchet in FE & EE

..

In the main text we reproduce the  mark after A. In GE (→IE) it was moved under the 3rd crotchet, while in FE and EE even further.
The same applies to bar 47. 

category imprint: Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies

b. 17

composition: (Op. 4), Sonata in C minor, Mvt II

Wedge in A (→GEFE,IE)

No mark in EE

..

The missing wedge is most probably due to an oversight by the EE engraver.

category imprint: Differences between sources

issues: Errors in EE

b. 18

composition: (Op. 4), Sonata in C minor, Mvt II

Long accent in A, contextual interpretation

 in GE (→FE,EE,IE)

..

We assume that the A mark refers to the R.H. minim, which results from the unquestionable notation of the three following, analogous bars. Therefore, it is a long accent, which is also confirmed by the evident accents in the next bars. In GE (→FE,EE,IE), although the position of the mark also points to the R.H., its length was adjusted to the L.H. triplet, as a result of which it looks more like a  hairpin.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents