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Op. 49, Fantaisie in F minor

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b. 45

composition: Op. 49, Fantaisie in F minor

Dotted crotchet in A

Quavers in GE & FE (→EE)

Crotchet suggested by the editors
..

According to us, the augmentation dot to A is Chopin's mistake (perhaps an echo of the initial version of notation such as in A in bar 56). As far as the extension of the additional stem to this note, pointing upwards, is concerned, as a result of which it reaches the quaver beam, we consider it an erroneous revision due to misunderstanding the A notation. Consequently, formally speaking, this version makes it impossible for this note (which is just a triplet quaver) to be tied to the following minim. 

category imprint: Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FE

b. 47

composition: Op. 49, Fantaisie in F minor

Quaver c1 in A (contextual interpretation) & FE (→EE1)
..

The vertical line visible in A under the c1 note on the 2nd beat looks like an additional crotchet stem. It is possible that it indicates that the note should be extended here, but it would be difficult to justify why the respective notes in analogous figures are not extended. Therefore, the alleged crotchet stem is almost certainly an insignificant pen stroke, which would often happen to Chopin at the time of writing notes on ledger lines above the stave (most often c1) – see, e.g. the Mazurka in B minor, Op. 24 No. 4, bar 23.
The additional crotchet in EE2 was added after GE1.

category imprint: Differences between sources

issues: EE revisions , Uncertain notes on ledger lines

b. 47-59

composition: Op. 49, Fantaisie in F minor

Crotchets in A

Quavers in GE

Quavers (in b. 48 & 50 dotted) in FE (→EE)
..

In bars 47-50 and 58-59 in the main text we keep the unquestionable A notation, in which the 2nd quaver in the bar is extended to a crotchet with an additional stem, pointing upwards. These stems having been led to the top quaver beam in the editions most probably resulted from a misunderstanding of the A notation. The augmentation dots to these quavers in bar 48 and 50 could be a consequence of Chopin's ad hoc proofreading, performed only in these 2 bars, aimed to extend the second quavers in these bars in a simplified manner (without removing fragments of stems), which is required by strict notation to hold them until the following minims. 

category imprint: Differences between sources; Editorial revisions

issues: GE revisions , FE revisions

b. 56

composition: Op. 49, Fantaisie in F minor

Dotted quaver in sources

Crotchet suggested by the editors
..

In the main text we give the more logical version of notation used by Chopin in A in the majority of analogous bars. The sources could be including the initial concept of extension of the 2nd quaver in the bar, entered inadvertently.

category imprint: Editorial revisions

b. 57-58

composition: Op. 49, Fantaisie in F minor

g repeated in A (→GE) & FE

g in EE
..

The missing tie to g in A (→GE) and FE could be Chopin's oversight, which is indicated by the comparison with analogous bars. It is probably on the basis thereof that a tie was added by EE, which we include in the main text in this situation. It is worth noting that the need of playing g at the beginning of bar 58 (due to the missing tie) could be related to the fact that in this bar the slur begins earlier – this is the only place (among 8 analogous situations), in which the A slur clearly runs from the beginning of the bar. According to us, however, it is a coincidence.

category imprint: Differences between sources

issues: EE revisions , Errors of A