Page: 
Source: 
p. 7, b. 142-161
p. 1, b. 1-24
p. 2, b. 25-49
p. 3, b. 50-75
p. 4, b. 76-103
p. 5, b. 104-124
p. 6, b. 125-141
p. 7, b. 142-161
p. 8, b. 162-182
p. 9, b. 183-207
p. 10, b. 208-228
p. 11, b. 229-248
p. 12, b. 249-269
p. 13, b. 270-292
p. 14, b. 293-312
p. 15, b. 313-332
p. 16, b. 333-352
p. 17, b. 353-373
p. 18, b. 374-399
Main text
Main text
A - Autograph
GE - German edition
GE1 - First German edition
FE - French edition
FE1 - First French edition
EE - English edition
EE1 - First English edition
EE2 - Corrected impression of EE1
IE - Italian edition
IE1 - First Italian edition
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Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
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Source & stylistic information
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Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
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No differences
A - Autograph
GE - German edition
GE1 - First German edition
FE - French edition
FE1 - First French edition
EE - English edition
EE1 - First English edition
EE2 - Corrected impression of EE1
IE - Italian edition
IE1 - First Italian edition
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Important
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  b. 161

Long accent in A (→GE), possible interpretation

 hairpin in A, contextual interpretation

Short accent in FE, EE & IE

It is unclear whether the mark in A is a diminuendo or an accent (long). In GE it was reproduced as an accent, longer than the short ones in bar 153, yet shorter than the majority of typical long accents. In the main text we provide a  hairpin due to the  in analogous bar 157. Diminuendo is also present in bar 87 and is a natural choice in the endings of all the related four-bar sections whose melodic shape is of a clearly ascending and descending nature. 

Compare the passage in the sources»

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents, Inaccuracies in GE, Inaccuracies in A

notation: Articulation, Accents, Hairpins

Missing markers on sources: A, EE2, EE1, IE1, GE1, FE1