Christopher Hogwood’s first ever  critical edition of the much performed concert overture goes back for the first time to all the sources. Hogwood examines not only Mendelssohn’s autograph but also the first edition of the score and orchestral parts which  Mendelssohn  saw to print. A manuscript copy with additional music thought to have been  performed under  Mendelssohn’s direction, but later deleted, as well as the composer's own two  and  four-hand piano arrangements of the composition were also taken into account.<br>
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As with the other overtures in this  series, the score contains a lengthy introduction, a critical commentary and facsimiles.<br>