The 
marks in b. 1-2 and analog. are of different length in A – the shortest do not even reach the 2nd semiquaver of a given group, whereas the longest go beyond the 4th semiquaver. The differences are almost certainly of an accidental nature; therefore, in the main text we unify them on the basis of the following premises:
- it is shorter marks that definitely prevail (two- and three-semiquaver long), which can be treated as long accents;
- the vast majority of marks begin slightly before the first semiquaver of the group, which is typical of accents;
- accents are the only reasonable interpretation of these marks if we take into account their quick succession in the indicated tempo and the structure of the figuration, in which the semiquaver triplets, which are in fact rhythmicized mordents, supported by quartal and quintal mixtures, constitute a natural melodic, harmonic and pianistic accent.
Attempts to unify the discussed marks were also made in the remaining sources – each of those versions (in our transcriptions subject to minor ordering procedures) can be considered a possible interpretation of the notation of A. It seems, however, that the only factor taken into consideration there was the literal interpretation of the marks (particularly in the case of FE (→EE)), which was, moreover, influenced by a similar yet longer mark in the upbeat.
Compare the passage in the sources »
category imprint: Graphic ambiguousness; Differences between sources
issues: Long accents, Inaccuracies in FE, Inaccuracies in FC
notation: Articulation, Accents, Hairpins