Final notes of Beethoven's Heiliger Dankgesang (opus 132, third movement)

In Beethoven's manuscript of the Heiliger Dankgesang, the pitches of the first violin's notes in the last two measures are unambiguous ...

... and they match what's in the first edition score (Schlesinger, 1833) ...

... and parts ...

... as well as the (?1863) Breifkopf und Härtel edition ...

However, in some later editions, the first violin's final F appears a half-measure earlier, as in this Schott version ...

... and in the Peters edition parts I have ...

Many performers (including the Alexander Quartet) use the second version. I wonder where it came from?