Handel's borrowings and the disputed Gloria
Identifieur interne : 000576 ( Istex/Corpus ); précédent : 000575; suivant : 000577Handel's borrowings and the disputed Gloria
Auteurs : Gregory BarnettSource :
- Early Music [ 0306-1078 ] ; 2006-02.
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Abstract
This article re-examines the case, first made by Hans Joachim Marx, for attributing the Gloria, HWV deest, to Handel by focusing on passages it shares with known works by the composer. In his rebuttal of Marx's case, Anthony Hicks concluded that such ‘borrowings’ proves only that Handel knew the Gloria, but this assumes that Handel's works were written after the Gloria, which was not the case. Beginning with a look at material shared by the Gloria and Handel's Laudate pueri, hwv236, I continue with an examination of this same material in two further works by Handel, his Laudate pueri, hwv237, and Zadok the Priest, hwv258. Based on the chronology of these works and on the material they share, it is likely that Handel did compose the Gloria. However, a larger question looms concerning passages that might be attributed to an individual composer as opposed to anyone working in the same time and place. This article therefore seeks to isolate the individual from the common-coin in late 17th- and early 18th-century Italian style as a means, not only of resolving the authorship of the Gloria, but also of substantiating our sense of what constitutes a musical borrowing.
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DOI: 10.1093/em/cah194
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In his rebuttal of Marx's case, Anthony Hicks concluded that such ‘borrowings’ proves only that Handel knew the Gloria, but this assumes that Handel's works were written after the Gloria, which was not the case. Beginning with a look at material shared by the Gloria and Handel's Laudate pueri, hwv236, I continue with an examination of this same material in two further works by Handel, his Laudate pueri, hwv237, and Zadok the Priest, hwv258. Based on the chronology of these works and on the material they share, it is likely that Handel did compose the Gloria. However, a larger question looms concerning passages that might be attributed to an individual composer as opposed to anyone working in the same time and place. 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He is currently writing a book on Italian instrumental music of the late 17th century and has published several articles in journals in the United States and Italy. He is also a contributor to</italic> The Cambridge history of Western music theory <italic>and</italic> The Cambridge history of seventeenth-century music. <ext-link xlink:href="gbarnett@rice.edu" ext-link-type="email">gbarnett@rice.edu</ext-link></aff></contrib-group><pub-date pub-type="ppub"><month>February</month><year>2006</year></pub-date><volume>34</volume><issue>1</issue><fpage>75</fpage><lpage>94</lpage><permissions><copyright-statement><italic>Early Music</italic>, Vol. <sc>xxxiv</sc>, No.1 © The Author 2006. Published by Oxford University Press. All rights reserved.</copyright-statement><copyright-year>2006</copyright-year></permissions><abstract xml:lang="en"><p>This article re-examines the case, first made by Hans Joachim Marx, for attributing the <italic>Gloria</italic>, HWV <italic>deest</italic>, to Handel by focusing on passages it shares with known works by the composer. In his rebuttal of Marx's case, Anthony Hicks concluded that such ‘borrowings’ proves only that Handel knew the <italic>Gloria</italic>, but this assumes that Handel's works were written after the <italic>Gloria</italic>, which was not the case. Beginning with a look at material shared by the <italic>Gloria</italic> and Handel's <italic>Laudate pueri</italic>, <sc>hwv</sc>236, I continue with an examination of this same material in two further works by Handel, his <italic>Laudate pueri,</italic> <sc>hwv</sc>237, and <italic>Zadok the Priest</italic>, <sc>hwv</sc>258. Based on the chronology of these works and on the material they share, it is likely that Handel did compose the <italic>Gloria</italic>. However, a larger question looms concerning passages that might be attributed to an individual composer as opposed to anyone working in the same time and place. This article therefore seeks to isolate the individual from the common-coin in late 17th- and early 18th-century Italian style as a means, not only of resolving the authorship of the <italic>Gloria</italic>, but also of substantiating our sense of what constitutes a musical borrowing.</p></abstract><kwd-group kwd-group-type="KWD" xml:lang="en"><kwd>George Friedrich Handel</kwd><kwd>Hans Joachim Marx</kwd><kwd>Anthony Hicks</kwd><kwd><italic>Gloria</italic>, <sc>hwv</sc> <italic>deest</italic></kwd><kwd>Laudate pueri, <sc>hwv</sc>236</kwd><kwd>musical borrowing</kwd><kwd>late 17th-century Italian sacred music</kwd></kwd-group><custom-meta-wrap><custom-meta><meta-name>hwp-legacy-fpage</meta-name><meta-value>75</meta-value></custom-meta><custom-meta><meta-name>cover-date</meta-name><meta-value>February 2006</meta-value></custom-meta><custom-meta><meta-name>hwp-legacy-dochead</meta-name><meta-value>Article</meta-value></custom-meta></custom-meta-wrap></article-meta><notes><p content-type="arthw-misc">I am grateful to Michael Talbot and an anonymous reader for their comments on earlier versions of this article and on my research of this topic.</p></notes></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Handel's borrowings and the disputed Gloria</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Handel's borrowings and the disputed Gloria</title></titleInfo><name type="personal"><namePart type="given">Gregory</namePart><namePart type="family">Barnett</namePart><affiliation>Gregory Barnett is Assistant Professor of Musicology at Rice University. He is currently writing a book on Italian instrumental music of the late 17th century and has published several articles in journals in the United States and Italy. 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