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Source: 
p. 1, b. 1-19
p. 1, b. 1-19
p. 2, b. 20-40
p. 3, b. 41-57
p. 4, b. 58-77
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AI - Working autograph
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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AI - Working autograph
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. 4-12

Short accents in A (→FEGE,EE)

Our suggestion

It is not entirely clear, which accent – short or long – Chopin had in mind in bar 4, while writing A. According to us, due to the melodic context, it is the long accent that is more plausible, yet it is worth observing that the accents in the L.H. in bars 1-2 are shorter from the discussed accent in bar 4. The problem is even more evident in bar 12.

See b. 2-10

Compare the passage in the sources»

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents

notation: Pitch

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