The accents in bars 144 and 152 added in GE3, seemingly justified by the homogeneous structure of the figurations, do not have to correspond to Chopin's intention. Admittedly, indications serving as a model, which is valid by default in an entire similarly structured section, are a frequent phenomenon in Chopin's pieces (cf. e.g. pedalling in bars 187-193 as well as accents in the Etude in C major, op. 10, no. 1 or slurs in the L.H. in the Nocturne in D
major, op. 27, no. 1), yet in this context – descending sequences, ending with motifs of a more lyrical character (
rather does not apply to the end of the phrase in bar 146 if Chopin repeated it in bar 147) – omission of a few final marks may as well contain a suggestion to mitigate the virtuoso energy. Even the fact that for the first time two, and for the second, three accents are "missing" may be interpreted as an indication for a more pronounced diminuendo for the second time, which combines well with the course of harmonic tensions.
Compare the passage in the sources »
category imprint: Differences between sources
issues: GE revisions
notation: Articulation, Accents, Hairpins