The Resurrexit from Hector Berlioz's Messe solennelle (1825): A Case Study in Self-Borrowing Page: 56
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56
entire section of material was re-used, Berlioz adjusted details of the composition.127
When he did not borrow large sections, Berlioz would incorporate short phrases and
motives into a work at a relatively late stage in the compositional process.128 Borrowings
such as this could have occurred inadvertently, however, if Berlioz simply remembered
ideas out of their context.129 Macdonald states that "At the smaller end of the scale, self-
borrowing merges with the normal stylistic fingerprints to be found in the work of any
composer."'130
The following examples of Berlioz's self-borrowing allow one to gain a glimpse
into his creative process through the lens of a single movement, the Resurrexit, and see
how his most important ideas could be manifested in different contexts. Through
understanding Berlioz's basic practices as a self-borrower, it is then possible to examine
each subsequent borrowing of the Resurrexit in the study of Berlioz's development as a
composer and a self-borrower.
127 Macdonald, 39.
128 Holoman, 124.
129 Ibid.
130 Macdonald, 27.
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Gill, Sarah M. The Resurrexit from Hector Berlioz's Messe solennelle (1825): A Case Study in Self-Borrowing, thesis, December 1999; Denton, Texas. (https://digital.library.unt.edu/ark:/67531/metadc2249/m1/62/: accessed July 17, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; .