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b. 245-249

composition: Op. 49, Fantaisie in F minor

Semiquaver under last triplet quaver in A & FE (→EE)

Semiquaver after last triplet quaver in GE
..

At the end of bar 245, 247 and 249, as in bars 78-82 and 165-169, the GE notation is an arbitrary revision of this edition, contrary to the A notation and the resulting performance. It is noteworthy that in the third appearance of this theme Chopin wrote down the rhythm of the bottom voice three times differently than before, although the performance, indicated by the alignment of notes in both voices, is undoubtedly the same.

category imprint: Differences between sources

issues: GE revisions , Dotted rhythms and triplets

b. 245-249

composition: Op. 49, Fantaisie in F minor

Semiquaver over L.H. quaver in A & FE

Semiquaver after L.H. quaver in GE & EE
..

As in bars 77-82, moving the semiquavers in bar 245 and 248-249 beyond the 3rd quaver of a respective L.H. triplet was an arbitrary decision by the revisers of GE and EE.

category imprint: Differences between sources

issues: EE revisions , GE revisions , Dotted rhythms and triplets

b. 245

composition: Op. 49, Fantaisie in F minor

..

In FE1 the bottom note of the 1st R.H. quaver is a g3 instead of f3. The mistake was corrected in FE2 (→EE).

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , FE revisions

b. 245-249

composition: Op. 49, Fantaisie in F minor

..

At the end of bar 245 and 249 in the main text we add a cautionary  to g3(2).

category imprint: Editorial revisions

b. 245

composition: (Op. 4), Sonata in C minor, Mvt I

No fingering in A (→GE→FE,IE)

Fingering in EE
..

In the main text we do not include the inauthentic fingering concerning the R.H. octaves added by EE.

category imprint: Differences between sources

issues: EE revisions