1. This article began as a talk given as a Class of 1960 Scholar at Williams College in March 2016. I would like to thank the Music Department for the invitation and the faculty and students for their inspiring questions and comments. I have also benefitted from the insightful responses of the Journal's anonymous reviewers, which gave me much to consider in contemplating the practice of borrowing and the four works discussed in the article.
2. In a study of Bach chorale quotations in twentieth-century German works, Klaus Winkler mentions the appearance of “Es ist genug” in both Berg's concerto and Zimmermann's Ekklesiastische Aktion: Winkler, “Bach-Choralzitate.” Guillermo Scarabino discusses the use of the “Es ist genug” melody in Berg's concerto and references to it in Britten's War Requiem. As he acknowledges, the references in the latter work are not as direct as those in the concerto, emerging from the emphasis in the War Requiem on the F♯-C tritone: Scarabino, “Bach, Berg, Britten.”
3. To this list could be added Eve Beglarian's The Marriage of Heaven and Hell (1994). Like the works discussed in this article, the movement that sets the William Blake proverb “You never know what is enough unless you know what is more than enough” concludes with a quotation of “Es ist genug.” Consistent with the referentiality of repeated borrowing, there are parallels between Beglarian's work and the four covered here, but the connections are not tight enough to place it in this discussion. Beglarian also incorporates melodic strands of the chorale in her The Continuous Life (2000). Another notable work is Magnus Lindberg's Chorale (2002), which, unlike the works studied here, does not quote the chorale melody but is rather a setting of “Es ist genug.”
4. Burkholder, “Uses of Existing Music.”
5. Reynolds, Motives for Allusion.