Musical Borrowing
An Annotated Bibliography

Individual record

[+] Derr, Ellwood. "Handel's Procedures for Composing with Materials from Telemann's Harmonischer Gottes-Dienst in Solomon." In Göttinger Händel-Beiträge 1, edited by Hans Joachim Marx, 116-47. Kassel: Bärenreiter, 1984.

Handel's borrowings result from rhythmic and motivic similarities between the borrowed piece and the new composition. Handel was able to draw upon a large number of musical materials chosen on a musical rather than a textual basis. The transformation of these materials was a conscious application of musical craft. This method of recall is termed the "theory of resonances." In addition to borrowing similar melodic and rhythmic motives, Handel also takes portions of Telemann's work and restructures them in a craftsmanlike manner, joining blocks of musical material to produce a more integrated whole. Handel's use of Telemann's work is, therefore, not the result of "licentious whimsy," but the direct result of musical materials that Handel found attractive and amenible to further development.

Works: Handel: Solomon (117-44), Siroe (118), La Resurrezione (120-24), Belshazzar (133-36), Lotario (139-40, 144), Ezio (141-42), Ariodante (144), 12 Concerti Grossi, Op. 6 (144), Messiah (144-45), Semele (145), Joseph and His Brethren (145-46), Hercules (146), Joshua (146), Theodora (146), Jeptha (146).

Sources: Telemann: Harmonischer Gottes-Dienst (118-44); Steffani: Qui diligit Mariam (120-24); Handel: Belshazzar (124), Parnasso in Festa (125-27).

Index Classifications: 1700s

Contributed by: Susan Richardson, Will Sadler

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