Mendelssohn in Performance. Book’s editor and contributor of two chapters. Bloomington: Indiana University Press, 2008.

Exploring many aspects of Felix Mendelssohn's multi-faceted career as musician and how it intersects with his work as composer, contributors discuss practical issues of music making such as performance space, instruments, tempo markings, dynamics, phrasings, articulations, fingerings, and instrument techniques. They present the conceptual and ideological underpinnings of Mendelssohn's approach to performance, interpretation, and composing through the contextualization of specific performance events and through the theoretic actualization of performances of specific works. Contributors rely on manuscripts, marked or edited scores, and performance parts to convey a deeper understanding of musical expression in 19th-century Germany. This study of Mendelssohn's work as conductor, pianist, organist, violist, accompanist, music director, and editor of old and new music offers valuable perspectives on 19th-century performance practice issues.

The Musical Genesis of Felix Mendelssohn’s Paulus. Lanham, Md.: Scarecrow Press, 2001.

It took Mendelssohn-Bartholdy two years, from spring 1834 to spring 1836, to compose the music for Paulus, after two years already spent on the libretto. Evidence of the compositional process is found in the Mendelssohn Nachlass (MN) 53-55, in MN19, as well as in rejected movements now in MN28 and other individual sources. While the full scores of MN53 and MN54 reflect very closely the version of the first performance, these autographs contain many layers of revisions; some movements in MN53 and MN54 date back to the first draft of Paulus composed in 1834. The version of the autograph piano-vocal score in MN55 is not identical with MN53 and MN54. Rather, MN55 contains a heavily revised version that preceded the performance version. The layers of revision of MN55 interlock with the revision stages of the full score of MN53-54, making for a complex web of revisions. After the first performance, Mendelssohn again revised Paulusextensively, leading to the final version published in winter 1836-37.