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Op. 49, Fantaisie in F minor

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b. 180

composition: Op. 49, Fantaisie in F minor

 in 2nd half of bar in A (→GE) 

No marking in FE (→EE1)

mid-bar in EE2

 in first half of bar suggested by the editors
..

As in the case of the entire group of dynamic indications in bars 164-179,  was almost certainly added by Chopin to A (→GE) after [FC] had been finished. The composer placed it in the middle of the bar, which, according to us, is a particularly clear example of placing markings within and not at the beginning of their scope. Chopin would sometimes follow the former rule, although back then it was already the latter that was generally observed. Due to this, in the main text we move this  to the beginning of the motif.
This indication was also added by EE2, on the basis of GE1; however, it was placed earlier, before the 2nd triplet. 

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

issues: EE revisions , Centrally placed marks , Inaccuracies in A

b. 180-181

composition: Op. 49, Fantaisie in F minor

c1(2) in A (→GE)

c1(2) in FE1

c1(2) in FE2 (→EE)
..

The FE1 version featuring c1 and c2 is probably authentic – it was introduced at the stage of proofreading (it can be seen that the  to the last quaver in bar 180 was added in print), which rules out a mistake when copying or engraving. According to us, it is possible that we are dealing with an error committed while proofreading, resulting from the similarity between the ending of bar 180 and 181 and the ending of bar 184 and 185, which in FE are – as in our transcriptions – on adjacent lines, one above the other (the similarity is all the grater as in A (→[FC]→FE1) there is no  lowering g1 to g1 in bar 185). Anyways, in FE2 the flats added by FE1 were changed to naturals, hence either returning to the original A version or correcting the previous mistake.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Authentic corrections of FE , FE revisions , Main-line changes

b. 180-181

composition: Op. 49, Fantaisie in F minor

Continuous pedal in A

No pedal in GE, interpretation

2 pedals in FE (→EE)

Our variant suggestion
..

The FE pedal markings take advantage of the harmonic legato, carefully written out by Chopin, and is recommended as such, particularly on contemporary pianos – cf. bars 43-48. Due to this fact, as in those bars, in the main text we include it in a variant form, keeping the A indication as the principal one. In GE there is no  mark at all in these bars, which we interpret as the absence of pedalling.
See also bars 184-185.

category imprint: Differences between sources

b. 180-187

composition: Op. 49, Fantaisie in F minor

..

Between bars 180-181, 182-183 and analog., in addition to four necessary ties, FE includes a fifth one, at the pitch of b. This is a routine revision (in similar contexts ties are often overlooked), yet in this case it must be erroneous – in bar 180 and 184 there is no b note to which this tie could apply, whereas in bars 182-183 and 186-187 tying b would deprive the motif of its last note. In EE the ties were reproduced inaccurately – the tie in bars 184-185 was overlooked, whereas the one in bars 180-181 was provided with the form of a slur, combining c1-b.
Interestingly, in bars 182-183 this kind of superfluous tie is also in A (→GE), most probably entered by mistake.

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: EE revisions , Errors in EE , Errors of A , FE revisions

b. 184-185

composition: Op. 49, Fantaisie in F minor

No markings in sources

[] suggested by the editors
..

Our variant suggestion is based on the authentic pedal markings in analogous bars 180-181. In the discussed bars the markings are generally compliant in all sources; it is only in FE (→EE) that the  asterisk is placed only just at the beginning of bar 186, which we do not consider an actual variant of the markings, since it must be an inaccuracy.

category imprint: Differences between sources; Editorial revisions

issues: Inaccuracies in FE