Page: 
Source: 
p. 3, b. 45-64
p. 1, b. 1-23
p. 2, b. 24-44
p. 3, b. 45-64
p. 4, b. 65-85
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A - Autograph
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE1a - Corrected impression of GE1
GE2 - Second German edition
GE3 - Third German edition
GE4 - Fourth German edition
GE5 - Fifth German edition
EE - English edition
EE2 - First English edition
EE3 - Corrected impression of EE2
EE4 - Revised impression of EE3
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A - Autograph
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE1a - Corrected impression of GE1
GE2 - Second German edition
GE3 - Third German edition
GE4 - Fourth German edition
GE5 - Fifth German edition
EE - English edition
EE2 - First English edition
EE3 - Corrected impression of EE2
EE4 - Revised impression of EE3
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  b. 55-56

Accents in A

 & accent in FE

Long accents in EE

 in GE

It does not seem possible that the accents of A, clearly falling on the 3rd quaver in both bars, took the form they have in FE due to the engraver's inaccuracy. Therefore, we consider the version of FE as an expression of Chopin's latest intention (despite the difference in length we consider both signs as long accents, as it was interpreted in EE). In GE the signs were given the form of short  hairpins, which in this context is generally equal to long accents. 

Compare the passage in the sources »

category imprint: Differences between sources

issues: Long accents, Inaccuracies in GE, Inaccuracies in FE, Authentic corrections of FE

notation: Articulation, Accents, Hairpins

Missing markers on sources: A, FE1, FE2, FED, FES, FEJ, GE1a, GE2, GE3, GE4, GE5, EE2, EE3, EE4, GE1