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Op. 49, Fantaisie in F minor

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Rhythm

b. 77-82

composition: Op. 49, Fantaisie in F minor

Semiquaver over L.H. quaver in A & FE

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

Moving the semiquavers in bars 77-78 and 81-82 beyond the 3rd quaver of the respective L.H. triplet is an arbitrary change by the revisers of GE and EE (in bar 77 GE mistakenly placed the semiquaver before the 3rd L.H. quaver). It suggests that the semiquavers should be performed after the respective accompaniment note, which is certainly contrary to Chopin's intention, clearly stated in the A notation. Cf. bars 245-249, see also the Nocturne in C minor, Op. 27 No. 1.
Similarly, in analogous bars 164-169 and 244-249.

category imprint: Differences between sources

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

b. 77

composition: Op. 49, Fantaisie in F minor

..

At the end of the bar the semiquaver beam was overlooked in GE1. The mistake was corrected in FE2 (→EE).

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , FE revisions

b. 78-82

composition: Op. 49, Fantaisie in F minor

b2(1) together with d3(2) in A & FE (→EE)

b2(1) before d3(2) in GE
..

Moving the last quaver in the bottom voice in bar 78 and 82 so that it is between the 2nd and 3rd notes of the triplet was an arbitrary decision by the reviser of GE. The A notation, both in these bars and in two repetitions of this phrase in different keys (bars 165-169 and 245-249) leaves no doubts about the synchronisation of both R.H. voices – their last notes are to be performed together regardless of the rhythmic value in a given voice. We can observe this kind of notation numerous times in other pieces by Chopin, cf., e.g. the Nocturne in C minor, Op. 48 No. 1, bars 61-63, the Ballade in F minor, Op. 52, bars 217-219 or the Prelude in E, Op. 28 No. 9, bar 8.
See also bar 80. 

category imprint: Differences between sources

issues: GE revisions

b. 80

composition: Op. 49, Fantaisie in F minor

b1 together with d2 in A & EE

b1 before d2 in GE # FE
..

As in bar 78 and 82, moving the last bottom voice quaver between the 2nd and the 3rd notes of the triplet in the top voice was an arbitrary decision by the engraver of GE. In the discussed bar this version of notation – contrary to A – was also used in FE, which is, according to us, an arbitrary revision as well. In EE the Chopinesque notation was guessed probably on the basis of comparison with bar 78 and 82. Similarly, bar 167 and 169.

category imprint: Differences between sources

issues: EE revisions , GE revisions , FE revisions

b. 108-109

composition: Op. 49, Fantaisie in F minor

Tied b2 crotchet in A (→GE)

b2 crotchet in FE

b2 quaver in EE1

Tied (?) b2 quaver in EE2
..

The absence of the tie to b2 in FE (→EE1) is probably an oversight by the copyist or by the engraver of FE1, as is the absence of the additional crotchet stem extending this note in EE (this change could also be a revision). In EE2 only a tie was added (the stem is still missing), hence the result of this correction is unclear. 

category imprint: Differences between sources

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