Recontextualizing Handels Borrowing

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Anthony Carrella Prcis November 27, 2013

Recontextualizing Handels Borrowing

John T. Winemiller,
Journal of Musicology 15, no. 4, (1997): 444-

Anthony Carrella!

Music Historiography 1!

Prof. Dana Gorzelany Mostak

Recontextualizing Handels Borrowing

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John T. Winemillers article, Recontextualizing Handels Borrowing discusses the

general usage and morality of preexisting material in the works of G.F Handel. Musicologists and other scholars have argued that Handel wrote in a way that appeared to emulate his own previous works, and even the works of other composers of the time. These scholars say that Handel took part in outright plagiarism, and that he went through life in moral qualms over his music. Winemiller argues that at this time in history, compositional norms were almost completely different from what our twenty-first century minds are used to. He debates that G.F Handel knew exactly what he wanted to do, because the concept of originality and creativity is wholly different from that of today. George Frederick Handel composed a large amount of musical material. From Mass to oratorio and opera, Handel creates a baroque sound that is incomparable to other composers...or is it? Some scholars argue that Handels writing was not composition, but rather, borrowing. Musicologists have said that he may have borrowed material because he was ill, or because his morals were in question. Some even go as far to say that Handel should be noted as The Great Arranger rather than the great composer. Winemiller, however, presents information that could change the perception of Handels music. Winemiller uses a writing by Jonathan Richardson in 1719 to prove that it was common and permissible for artists to share ideas, being that the artist applied his own original alterations to the work. Winemiller also calls upon the prose of Jonathan Swifts Battel of the Books. Written in 1704, Swift personifies an argument of self preservation between a bee and spider, each entity claiming that their way of life is morally just, while the others path is shrouded

Anthony Carrella!

Music Historiography 1!

Prof. Dana Gorzelany Mostak

Recontextualizing Handels Borrowing darkness. Swift then examines the politics of rhetorical imitation by imitating the ideas of Seneca. Seneca notes a difference between a bee gathering honey and making it from the nectar it gathers. These two ideas are completely different, but, it is resolved that the bee must first digest the nectar it has gathered to make honey, thereby showing that transformative reproduction is the cause for something sweet. Winemiller goes on to say that the manuals of German compositional pedagogy, and even the ideas of Handels colleagues, were opposed to borrowing. However, it is important to understand that G.F Handels world was in the midst of both an ideological and artistic alteration. It is proven that Handel would almost never copy entire phrases of material into his writing. He would put his own material, and the ideas of others through a process of transformative imitation. Handel would go as far to change metrical, melodic and textual characteristics of musical and textual material. For example, in his 1718 opera Acis and Galatea Handel derives texts not only from the original Ovid Metamorphoses but he uses the texts of other eighteenth century writers, highlighting John Gay. The subtle (and not so subtle) nuances of the opera are different from the original Ovid, and this was highly encouraged in Handels time. Even in the operas musical material, we see the musical material of Keiser being brought out into longer duration. Keisers conciseness was stretched out by Handel. He did this through composing variants in tonicization, progression and cadential points. Yes, Handel did borrow material. Without question, this influential baroque composer had a full understanding of what he was doing with his work, and the work of others. However, it is important to note that Handel was acting on, and taking part in the great artistic shift of the eighteenth century. His skillful use of alteration and adaptation speaks to the art of

Anthony Carrella!

Music Historiography 1!

Prof. Dana Gorzelany Mostak

Recontextualizing Handels Borrowing reconceptualization, and his borrowing should be perceived as both a morally sound and creative technique.

Anthony Carrella!

Music Historiography 1!

Prof. Dana Gorzelany Mostak

Recontextualizing Handels Borrowing

Prcis Grading Rubric

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SA = Strongly Agree A = Agree D = Disagree SD = Strongly Disagree Basic Criteria Assignment is appropriate in page length and scope SA A D SD Assignment is neat & shows careful attention in its presentation. Submission addresses the major requirements of the task as assigned. Comments: SA A D SD SA A D SD

Part 2 Content Criteria Prcis begins by abstracting authors overall argument. Prcis subsequently follows authors structure in summarizing his/her case. Prcis reproduces faithfully all main points of authors argument. Prcis provides sufficient detail in recreating authors argument. Prcis refrains from unnecessary & inappropriate direct quotation. Prcis is devoid of personal opinions, assessments, etc. Writing is clear & concise. Writing is free from mechanical & grammar errors. Prose style is appropriate for university-level writing; it is free of colloquialisms. Overall, prcis distills successful (content & writing) authors argument. Comments:

SA A D SD SA A D SD SA A D SD SA A D SD SA A D SD SA A D SD SA A D SD SA A D SD SA A D SD SA A D SD

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Anthony Carrella!

Music Historiography 1!

Prof. Dana Gorzelany Mostak

Recontextualizing Handels Borrowing

Anthony Carrella!

Music Historiography 1!

Prof. Dana Gorzelany Mostak