FE1
Main text
FCI - Fontana's copy of earlier version
A - Autograph
FC - Fontana's copy
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz Copy
FES - Stirling copy
FESch - Scherbatoff copy
GE - German edition
GE1 - First German edition
GE2 - Revised impression of GE1
GE3 - Corrected impression of GE2
EE - English edition
EE1 - First English edition
EE1a - Corrected impression of EE1
EE2 - Revised impression of EE1a
compare
  b. 17-18

2 long accents in FCI

in A

No sign in FC (→GE) & FE (→EE)

The omission of the  hairpin both in FC (→GE) and FE (→EE) is probably a result of the mark overlapping with the ending of the L.H. slur – each of the arms of the hairpin looks like an attempt to prolong/finish that slur.
Two accents in FCI emphasize the importance of both d2 and the C major chord, but the sense of this transition is revealed only just when they are combined, which Chopin expressed in A by uniting them with one  mark. A comparison of those two marking methods allows us to better understand the sense of  hairpins in similar contexts (Cf. e.g. Prelude in A minor no. 2, bars 15-16). One can also see this change as an analogy to the merged slurs in b. 4-6.  

Compare the passage in the sources »

category imprint: Differences between sources; Corrections & alterations

issues: Errors in FE, Errors of FC

notation: Articulation, Accents, Hairpins

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