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The position of the reversed long accent seems to be inaccurate in FE, if we take into account similar marks in analogous b. 49-52. Due to the above reason, in the main text we begin that mark already in the previous bar in order to emphasise its relation to the motif of the ascending second, generally accompanied by reversed accents (cf. the Concerto in E Minor, Op. 11, II mov., b. 29). The version of EE is an arbitrary attempt at interpreting that mark as a crescendo, probably referring to the L.H.
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category imprint: Differences between sources; Editorial revisions
issues: EE revisions
notation: Articulation, Accents, Hairpins