[+] Mann, Alfred. "Self Borrowing." In Festa Musicologica: Essays in Honor of George J. Buelow, ed. Thomas J. Mathiesen and Benito V. Rivera, 147-63. Stuyvesant, N.Y.: Pendragon, 1995.
The term "self borrowing" is not only grammatically contradictory (what one owns, one needs not borrow), it also tends to obscure the compositional process. Composers such as Bach and Handel did not stop thinking about musical material once it was committed to paper; rather, they continued to revise and expand on it. In Handel's case, expansion and elaboration of a theme can be seen in manuscript sketches.
Works: Wolfgang Amadeus Mozart: Piano Trio in E-flat, K. 498 (147-48), Die Entführung aus dem Serail, Act II, "Welche Wonne, welche lust" (147, 149); Anonymous, attributed to Handel: St. John Passion (150); George Frideric Handel: Organ Concerto, Op. 7, No. 4 (150-52), Nel dolce dell' oblio (150, 153), composition studies for Princess Anne (157-59), Sixth Chandos Anthem (159-63); Johann Sebastian Bach: Mass in B minor, BWV 232, "Patrem omnipotentem" (155-56).
Sources: Wolfgang Amadeus Mozart: Piano Quartet in G minor, K. 478 (147-48), Flute Concerto, K. 314 (147, 149); Georg Philipp Telemann: Musique de table, second set (150, 153); Johann Sebastian Bach: Gott, wie dein Name, so ist auch dein Ruhm, BWV 171 (155-56); George Frideric Handel: Utrecht Te Deum (159).
Index Classifications: General, 1700s
Contributed by: Felix Cox
