Handel's last two compositions, the Organ Concerto in B-flat Major, Op. 7, No. 3, and the oratorio Jephtha, were both written in 1751 before he became blind, and both borrow from Franz Joseph Habermann's six masses, Op. 1. These borrowings and his sketches demonstrate Handel's compositional process in two of his prolific genres. Although some of these borrowings were identified in earlier editions of these works, Handel's borrowings in these two works are much more in depth than previously thought. Handel expands Habermann's themes for use as his own themes in this organ concerto, both in the early version of the work and his revision, which creates an equal dialogue between organ and orchestra unusual for his concerti. In Jephtha, Handel uses Habermann's themes to create his own fugue themes in the finale, as well as for many aria melodies. This work represents a more traditional and conservative use of borrowed materials in using borrowed melodies for contrapuntal elaboration. Handel used some of the contrapuntal techniques that Habermann had tried to use for the melodies. Since Handel thought Habermann's efforts were unsuccessful, he attempted to improve upon them in Jephtha. An appendix of the contents of sketches related to Jephtha is included.

Works: Handel: Organ Concerto in B-flat Major, Op. 7, No. 3 (22:61-69, 23:27), Jephtha (22:61-62, 23:27-43).

Sources: Franz Joseph Habermann: Mass, Op.1, No. 5 (22:62-64, 23:29, 33), Mass, Op. 1, No. 2 (22:66-67, 23:37, 39-40), Mass, Op. 1, No. 3 (22:68-69, 23:37-39), Mass, Op. 1, No. 6 (23:29-32), Mass, Op. 1, No. 4 (23:29-34, 41), Mass, Op. 1, No. 1 (23:31, 37).

Index Classifications: 1700s

Contributed by: Danielle Nelson