Preface; Introduction. Outline of history of opinion as to Handel's originality; 1. Comparison of passages from works by Handel with extracts from compositions by Gottlieb, Muffat, and with manuscript copies made thence by Handel; 2. Comparison of passages from Handel's Jephtha with extracts from masses by Franz Johann Habermann, and with manuscript copies made thence by Handel; 3. Comparison of a chorus in Handel's Theodora with a vocal duet by Giovanni Carlo Maria Clari; 4. Comparison of two choruses in Handel's Trionfo del Tempo with two choruses in a work by Karl Heinrich Graun, and with manuscript copies of them made by Handel. Miscellaneous examples of Handel's use of his work; 5. Handel's use of earlier compositions of his own. Instances of this in the case of some duets set to secular Italian words and afterwards developed into several choruses, and one duet, in Messiah; 6. Character of results attained by Handel when making use of pre-existing materials. Israel in Egypt affords unique opportunities for studying these results. Comparison of Part I of that oratorio with portions of a serenata by Stradella, an organ-piece by Kerl and four earlier compositions of Handel's own; 7. Comparison of Part II of Israel in Egypt with a Latin Magnificat, the authorship of which is disputed, and with a passage from a Latin Te Deum by Urio; 8. Discussion of the question whether Handel's mode of dealing with compositions by other Masters was morally justifiable; Appendices: List of works by Handel quoted from in this volume; List of composers, instances of the use of whose works by Handel are quoted in this volume; List of examples; Index.
Preface; Introduction. Outline of history of opinion as to Handel's originality; 1. Comparison of passages from works by Handel with extracts from compositions by Gottlieb, Muffat, and with manuscript copies made thence by Handel; 2. Comparison of passages from Handel's Jephtha with extracts from masses by Franz Johann Habermann, and with manuscript copies made thence by Handel; 3. Comparison of a chorus in Handel's Theodora with a vocal duet by Giovanni Carlo Maria Clari; 4. Comparison of two choruses in Handel's Trionfo del Tempo with two choruses in a work by Karl Heinrich Graun, and with manuscript copies of them made by Handel. Miscellaneous examples of Handel's use of his work; 5. Handel's use of earlier compositions of his own. Instances of this in the case of some duets set to secular Italian words and afterwards developed into several choruses, and one duet, in Messiah; 6. Character of results attained by Handel when making use of pre-existing materials. Israel in Egypt affords unique opportunities for studying these results. Comparison of Part I of that oratorio with portions of a serenata by Stradella, an organ-piece by Kerl and four earlier compositions of Handel's own; 7. Comparison of Part II of Israel in Egypt with a Latin Magnificat, the authorship of which is disputed, and with a passage from a Latin Te Deum by Urio; 8. Discussion of the question whether Handel's mode of dealing with compositions by other Masters was morally justifiable; Appendices: List of works by Handel quoted from in this volume; List of composers, instances of the use of whose works by Handel are quoted in this volume; List of examples; Index.
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