Articles, Book Chapters, etc.

"Kein Aufguss der Neunten: Felix Mendelssohns Symphonie-Kantate 'Lobgesang' in einer neuen Urtext-Edition." [t]akte: Das Bärenreiter-Magazin, January 2020: 10.

 

“‘Inner Necessity’:  Fabulation, Frame, and Musical Memory in Mendelssohn’s Lobgesang.” In Rethinking Mendelssohn, ed. Benedict Taylor. Oxford: Oxford University Press, 60-90.

“People of Color Who Write Classical Music: Recovering ‘Lost’ Music by Black Composers as Resistance and Revolution.” Black History Bulletin 82, no. 1 (2019): 20-27.

“Faust’s Schubert: Schubert’s Faust.” In Music in Goethe’s “Faust” – Goethe’s “Faust” in Music, ed. Lorraine Byrne Bodley, 101-116.  Suffolk: Boydell & Brewer, 2017. 

“‘Infelice / Ah, ritorna, età dell’ ore’ und ‘Infelice / Ah, ritorna, età felice,’” in Felix Mendelssohn Bartholdy: Interpretationen seiner Werke, ed. Matthias Geuting and Michaela G. Grochulski (Laaber: Laaber-Verlag, 2016), 2: 221-32.

Die erste Walpurgisnacht op. 60.” In Felix Mendelssohn Bartholdy: Interpretationen seiner Werke, ed. Matthias Geuting and Michaela G. Grochulski (Laaber: Laaber-Verlag, 2016), 2: 252-63.

“Escape to – and from – Utopia: Fourierist Philosophy and Musical Life in the Colony of La Réunion, Texas.” American Music 33 (2015): 141-75.

“Music History as Sermon: Style, Form, and Narrative in Mendelssohn’s ‘Dürer Cantata.’” In Mendelssohn, the Organ, and the Music of the Past: Constructing Historical Legacies, ed. Jürgen Thym, 224-64. New York: University of Rochester Press, 2014. 

“Mendelssohn and Berlioz: Selective Affinities.” In Mendelssohn Perspectives, ed. Angela R. Mace and Nicole Grimes. 113-43. Aldershot: Ashgate, 2012.

(with R. Larry Todd) “‘With True Esteem and Friendship’: The Correspondence of Felix Mendelssohn Bartholdy and Louis Spohr.” Journal of Musicological Research 29 (2010): 171-259. “Mendelssohn’s Fugues for String Quartet (1821).”  Ad Parnassum 8/14 (Fall 2010): 1-33.

“Mendelssohn’s Valediction.” The Choral Journal 49/4 (April 2009): 50-59. 

“From Notation to Edition to Performance: Issues in Interpretation.” In Mendelssohn in Performance, ed. Siegwart Reichwald (Bloomington: Indiana University Press, 2008), 171-88.

“‘For You See I Am the Eternal Objector’: On Performing Mendelssohn’s Music in Translation” In Mendelssohn in Performance, ed. Siegwart Reichwald (Bloomington: Indiana University Press, 2008), 207-248.

“Impulse Bachs im Geiste der Gegenwart: Bemerkungen zu einigen wenig bekannten Sätzen zu Mendelssohns Paulus.” In “. . . zu groß, zu unerreichbar . . . ”: Bach im Zeitalter des Romantismus, conference hosted by Leipzig Gewandhaus Orchestra, Sebastian-Bach-Haus, Mendelssohn-Haus, and Schumann-Haus, 11-13 November 2006.

“One Aria or Two? Mendelssohn, Metastasio, and Infelice.” Philomusica Online 4 (2004-2005). See http://philomusica.unipv.it/

“Mendelssohn Received.” In The Cambridge Companion to Mendelssohn, ed. Peter Mercer-Taylor, 233-50. Cambridge: Cambridge University Press, 2004.

“Knowing Mendelssohn: A Challenge from the Primary Sources.” Notes 61 (2004): 35-95.

“‘. . . da ich dies Stück gern recht correct erscheinen sähe’:  Philological and Textual Issues in Mendelssohn’s Hebrides Overture, Op. 26.” Philomusica Online 3 (2003-2004). See http://philomusica.unipv.it/

“Of Red Roofs and Hunting Horns: Mendelssohn’s Song Aesthetic, with an Unpublished Cycle (1830).” Journal of Musicological Research 21 (2002): 277-317.

“Mendelssohn’s Two Infelice Arias: Problems of Sources and Musical Identity.” In The Mendelssohns: Their Music in History, 43-97. Oxford: Oxford University Press, 2002.

“The Prodigy’s Voice: Mendelssohn and His Clarinet Sonata.” The Clarinet 29/2 (2002): 70-77.

“The Realisation and Embellishment of Timpani Parts in German Baroque Music: The Schlagmanieren Revisited.” Early Music 27 (1999): 249-66.

“Mendelssohn’s Works: Prolegomenon to a Comprehensive Inventory.” In The Mendelssohn Companion, ed. Douglass Seaton, 701-85. Westport, Connecticut: Greenwood Press, 2001.

Foreword to first publication of Felix Mendelssohn Bartholdy, Three Marches for Harmonie-Musik, ed. Roger Garrett. Palm Beach, Fla.: Ballerbach Press, 1999.

“Words without Songs? Thoughts on Texts, Titles, and Mendelssohn’s Lieder ohne Worte.” In Musik als Text? Bericht über den internationalen Kongreß der Gesellschaft für Musikforschung, Freiburg im Breisgau 1993, ed. Hermann Danuser and Tobias Plebuch, ii: 341-46. Kassel: Bärenreiter, 1999.

“A Glimpse into the Composer’s Workshop: The 1833 Revisions in Mendelssohn’s ‘Italian’Symphony.” In Felix Mendelssohn Bartholdy, Symphonie A-dur op. 90: Alle eigenhändige Niederschriften in Faksimile: Partitur 1833. Wiesbaden: Ludwig-Reichert Verlag, 1997.

“A Glimpse into the Composer’s Workshop, Part II: Critical Observations concerning the 1834 Revision of Mendelssohn’s A-major Symphony.” In Felix Mendelssohn Bartholdy, Symphonie A-dur op. 90: Alle eigenhändige Niederschriften in Faksimile: Partitur 1834. Wiesbaden: Ludwig-Reichert Verlag, 1997.

“Timpani and Percussion.” In A Performer’s Guide to Seventeenth-Century Music, ed. Stewart Carter, 133-52. New York: Schirmer Books, 1997. 2nd ed., 2011 (pp. 150-67).

“‘The Effect of the Whole Was Indescribably Beautiful’: Music, Literature, and Tableaux Vivants in Early Nineteenth-Century Germany.” In Literary and Musical Notes: A Festschrift for Wm. A. Little, ed. Geoffrey C. Orth, 9-26. Bern: Peter-Lang-Verlag, 1995).

“Felix Mendelssohn, Ferdinand David und Sebastian Bach: Mendelssohns Bach-Auffassung im Speigel der Wiederentdeckung der ‘Chaconne.’” Mendelssohn-Studien 10 (1997): 159-86.

“The Hero Transformed: The Relationship between Ein Heldenleben and Don Quixote Reconsidered.” Richard-Strauss-Blätter 30 (1993): 3-21.

“‘Aber eben dieser Zweifel’: A New Look at Mendelssohn’s ‘Italian’ Symphony.” Nineteenth-Century Music 15 (1992): 169-87.

“Towards a Reconsideration of J. S. Bach’s Writing for the Timpani.” Percussive Notes 15 (1989):  44-50.

“Musical Form and Dialectic Thought in Brahms’s Schicksalslied.” Theoretically Speaking 4 (1987): 41-47.

“The Baroque Timpani: Some Observations on Performance Practice and the Present State of Research.” Percussive Notes 12 (1986): 39-50.

“Program and Form in Dvořák’s Othello.” Theoretically Speaking 3 (1986): 66-68.

“Richard Strauss’s Vier letzte Lieder.” Theoretically Speaking 2 (1985): 39-50.