Upcoming Concerts and Events

It is often said that there is nothing new under the sun. Composers and performers alike frequently emulate and adapt one another's works to fit a new time or context.

 

Almost every classical composer you could think of has at one time borrowed from herself, especially if she has had a long career. This act of self-borrowing speaks volumes about the creative process and the evolution of artistic expression. Rather than viewing it as a lack of originality, it illuminates the composer's deep engagement with her own work and the desire to revisit and refine earlier ideas. In Mozart's case, reworking his Mass in C Minor into the cantata Davidde penitente. Four of the numbers in Handel's Messiah are rearrangements of his own works, and in Bach's Mass in B Minor seven of the numbers are rearrangements of earlier cantata movements…  (I haven’t even begun to address the borrowing in the realm of film scoring!)

 

Perhaps even more recognizable to the ear is borrowing from one another. In the Medieval and Renaissance periods, music was controlled and limited to a specific repertoire. To skirt these restrictions, composers used existing plainchant as the basis for new compositions. Even now, composers refer to these chants as a basis for new works. Moreover, variations on themes often serve to honor and preserve the legacy of the original works of an admired composer. Yet, the more intriguing instances occur when themes are recontextualized by other industries. Such is the fate of Rossini's "William Tell" overtures; the audience will listen attentively through the first three-fourths of the work, but with the famous trumpet call, shouts of "Hi yo, Silver!" echo through the hall.

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On a more contentious note, the concept of stealing in music, where compositions are overtly borrowed without acknowledgment, presents ethical dilemmas. Handel, for example, notoriously incorporated numerous motifs from other composers into his works, a practice later mirrored by giants like Beethoven and Schubert as they quoted or adapted Handel's themes. This concern extends into cultural appropriation, particularly in choral music, as highlighted by conductor Rollo Dilworth. His research into cultural appropriation underscores the fine line between respectful homage and exploitation, especially in performances of music from marginalized cultures. Dilworth advocates for a balanced approach where cultural elements are borrowed with reverence and understanding, ensuring that all music, irrespective of its origin, is accorded the same respect and diligence in its presentation. He explains, "often there isn’t as much care taken” with music representing non-dominant cultures—performers regard it as “not as important, not as sophisticated,” so they don't need to treat it in the same way as they would treat Bach, for example. “My argument has always been, why wouldn't we put the same amount of time and energy into a Malaysian folk song or an African American spiritual?”

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Saturday April 20, 2024 | 7:00pm

Christ Episcopal Church, Chattanooga TN

663 Douglas Street

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Sunday April 21, 2024 | 4:00pm

First Baptist Church of Chattanooga

401 Gateway Avenue

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Admission Free | Donations Welcome