Modern music and musicians : [Encyclopedic] . ay be that this practice wassometimes due to absent-mindedness. But this can hardly account forHandels use of the whole Magnificat in many movements (by Erba).It is rather difficult to defend this habit of musical cleptomania, even ifthere were but one instance of it, and there are many, in spite ofRockstros vigorous denials. Heine says there is no eighth commandmentin art. Was not Shakspere a most comprehensive, conscienceless, andconsistent plagiarist ? And who thinks less of him for it % I confessthat to me these reminiscences, plagiarisms, or w
Modern music and musicians : [Encyclopedic] . ay be that this practice wassometimes due to absent-mindedness. But this can hardly account forHandels use of the whole Magnificat in many movements (by Erba).It is rather difficult to defend this habit of musical cleptomania, even ifthere were but one instance of it, and there are many, in spite ofRockstros vigorous denials. Heine says there is no eighth commandmentin art. Was not Shakspere a most comprehensive, conscienceless, andconsistent plagiarist ? And who thinks less of him for it % I confessthat to me these reminiscences, plagiarisms, or whatever one may wish tocall them, seem much more interesting than important; nor, looked atfairly, do they reflect upon his artistic integrity. Handel always treatedhis captives or his booty well; he always improved, never abused orabased, them. The element of financial loss to the original owner wasalmost a negligible quantity, for copyright in music hardly existed inthose days. The first statute granting copyright came into effect under 58. SINGERS IN HANDELS ORATORIOS IN LONDON. Queen Anne, in 1710, and we get a vivid impression of its real value toa composer from Handels facetious proposition to his publisher, Walsh,apropos of Rinaldo (published in 1711), that Walsh should compose thenext opera and Handel publish it. Moreover, Handel cribbed with per-fect impartiality, and from his own works as freely as from those ofothers. He was, perhaps, an early believer in the present wide-spreadtheory that substance is unimportant in comparison with see that he was fond of using the same idea repeatedly, especiallyif it was a good one. The beautiful, well-known air in Rinaldo, Lasciachio pianga, appears first in Almira (1705), and again in the Trionfodel tempo e della verita (1708). The same whole finale serves for the Organ Concerto in D Minor, one of the suites for piano, and one ofthe great concertos for orchestra. Finally, his borrowed ideas are in-finitely less im
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