Abstract
Abstract Handel highlights several climactic moments in his works with choruses composed of closely related cantus firmus themes and contrapuntal settings. Parallels can be traced through individual sections of some of the key compositions that define his career in England: ‘Oh Lord, in thee have I trusted’, from the Utrecht Te Deum (1713), ‘Blessed be God’, from Let God arise (1717–18/1726), ‘I will sing’, from Israel in Egypt (1738), and ‘Hallelujah’ from Messiah (1741). The common purpose of giving thanks and praise to God for military victory further links these choruses. While several different melodic sources have been suggested for the cantus firmus subjects thus far, the affinity of all four of Handel’s themes to the incipit of a very well-known canon, Non nobis Domine, invites an exploration of its possible citation. The customary practice of singing the canon or reciting its psalm text at celebratory moments, modelling the psalmist’s deflection of all the honour of his accomplishments to God, makes its reference in Handel’s works highly appropriate. Understanding Handel’s multiple reuse of his choral setting in the context of this tradition deepens the relevance of his music as well as our perspective on his self-borrowing.
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