¹ The string sinfonie, and with them op. 11, have generated increasing interest in recent decades, and op. 11 in particular has profited from these developments. See Konold, Wulf, “Opus 11 und Opus 107 – Analytische Bemerkungen zu zwei Sinfonien von Felix Mendelssohn Bartholdy”, in Felix Mendelssohn Bartholdy, ed. Metzger, Heinz-Klaus and Riehn, Rainer (Munich: edition text + kritik, 1980): 8–28;Google ScholarKonold, Wulf, Die Symphonien Felix Mendelssohn Bartholdys: Untersuchungen zu Werkgestalt und Formstruktur (Laaber: Laaber, 1992), esp. 39–85;Google ScholarVitercik, Greg, The Early Works of Felix Mendelssohn: A Study in the Romantic Sonata Style (Philadelphia: Gordon and Breach, 1992): 53–63;Google ScholarTodd, R. Larry, ‘Mendelssohn’, in The Nineteenth-Century Symphony, ed. Holoman, D. Kern (New York: Schirmer Books, 1997), esp. 78–84;Google ScholarGrey, Thomas, ‘The Orchestral Music’, in The Mendelssohn Companion, ed. Seaton, Douglass (Westport, CT: Greenwood, 2001), esp. 407–14; andGoogle ScholarSeaton, Douglass, ‘Symphony and Overture’, in The Cambridge Companion to Mendelssohn, ed. Mercer-Taylor, Peter (Cambridge: Cambridge University Press, 2004), esp. 91–8Google Scholar.

² See Kallberg, Jeffrey, ‘The Chopin “Problem”: Simultaneous Variants and Alternate Versions’, in Chopin at the Boundaries: Sex, History, and Musical Genre (Cambridge, MA: Harvard University Press, 1996): 215–18.Google Scholar

³ Cf. Little, Wm. A. (ed.), Felix Mendelssohn Bartholdy: Complete Organ Works, v (London: Novello, 1990): 72,Google Scholar and bars 32–47 of the first movement of Sinfonia XII (ed. Hellmut Christian Wolff in series I, vol. 3 of the Leipziger Ausgabe (Leipzig: Deutscher Verlag für Musik, 1983): 102)Google Scholar.

⁴ The orchestrated version of the Scherzo has been published independently many times. An edition based on the contemporary copy held in the Bodleian Library, Oxford, is available with critical notes in Konold, , Die Symphonien: 437–77Google Scholar.

⁵ When Wehner's editions of the orchestral versions of op. 11 were completed and published (1999/2000) the 1824 autograph score was on deposit from the Royal Philharmonic Society; accordingly, Wehner cites it with the shelfmark ‘Loan 4, Ms. 289’. The score has since become the property of the British Library and now carries the shelfmark ‘RPS Ms. 289’.

⁶ Held in the Gertrude Clarke Whittall Foundation Collection in the Library of Congress, Washington, DC (shelfmark ML30.8j op. 11 Case).

⁷ ‘1a’ and ‘1b’ represent the two parts of the first pen-stroke; ‘2a’ and ‘2b’, the two parts of the second one.

⁸ See Brown, Clive, ‘Bowing Styles, Vibrato and Portamento in Nineteenth-Century Violin Playing’, Journal of the Royal Musical Association 113 (1988): 97–128, esp. 110–19.CrossRefGoogle Scholar

⁹ Published by Bärenreiter-Verlag (Kassel), the currently available volumes in this series include the C major (‘Trumpet’) Overture (op. posth. 101), the Melusine Overture (op. 32), and the Hebrides Overture (op. 26). The series is also to include the Midsummer Night's Dream, Calm Sea and Prosperous Voyage and Ruy Blas Overtures, as well as the Overture for Harmoniemusik op. 24.

¹⁰ Letter in English to J.B. Cramer on 26 November 1829, preserved with the autograph of the arrangement for piano-duet in the Library of Congress, Washington, DC. Wehner's edition quotes another passage from this little-known letter (pp. xv, xxiv), but omits this excerpt because it is not directly relevant to the discussion.