In bars 244-247, the 
hairpin visible in FE (→EE,GE1→GE2) do not seem to be erroneous at first sight, hence this version may be considered to be intended by Chopin. However, according to us, a more accurate analysis of its meaning leads to the conclusion that it is highly likely that the composer's intention was reproduced inaccurately:
- Such subsequent, short are most probably meant to indicate gentle long accents, hence their accurate placement is essential for the correct interpretation of their meaning.
- There is no visible reason for the two identical phrases in bars 244-245 and 246-247 to be accentuated differently. Therefore, differing indications may signal inaccuracies or mistakes of notation. There are two such differences in the discussed bars – the missing under the 1st triplet in bar 246 and different position of the marks in bars 245 and 246.
- We consider the missing highlighting the beginning of the phrase to be an inaccuracy of the sources (probably repeated after [A]), although it is likely that Chopin could have felt the need for such an emphasis only with regard to
in bar 244. - We consider the placement of the mark under the last triplet of the first bar of the phrase (like it is in bar 246) to be more natural than at the beginning of the second bar (like it is in bar 245). Such a position results in a regular arrangement of two pairs of quavers (2nd and 3rd in the first bar and 4th and 1st), which is followed by a closing, longer figure, started with an accent in the L.H. and ended by the broken semiquaver movement at the beginning of bars 246 and 248.
In conclusion, we consider the source text to be acceptable without any changes; however, in the main text we suggest a completion and correction, unifying and polishing the course of both analogous phrases.
In GE3, the missing discussed hairpin from bar 245 is most probably an oversight.
category imprint: Differences between sources; Editorial revisions
issues: Scope of dynamic hairpins, Errors in GE
notation: Articulation, Accents, Hairpins
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