The range of the 
hairpin in b. 1 is difficult to determine in A – the top arm is much shorter than the bottom one. According to us, it is the range marked by the top arm, written first, that was intended by Chopin. It is compliant with dynamics, naturally resulting from the shape of the melodic line, and this is how it was reproduced by Fontana in FC (→GE). That interpretation is also supported by the range of the hairpins in analog. b. 3 and 9 (as well as 23), in which the range of the top arm remains unchanged, unlike the considerable and rather accidental changeability of the bottom one. The differences in the length of the 
mark in b. 2 seem to be inaccuracies (in FC, not affecting the meaning) or routine revisions (in editions).
CGS overlooked the vast majority of dynamic markings – except for two in b. 13-14. According to us, it is an oversight of the copyist.
Similar problems and differences occur in following, similar bars 3-5, 9-11 and 23-24.
Compare the passage in the sources »
category imprint: Graphic ambiguousness; Differences between sources
issues: Inaccuracies in FE, Scope of dynamic hairpins, GE revisions, Inaccuracies in A
notation: Pitch