By Heinrich Christoph Koch, Johann Georg Sulzer

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Extra resources for Aesthetics and the Art of Musical Composition in the German Enlightenment: Selected Writings of Johann Georg Sulzer and Heinrich Christoph Koch

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Riga, 1771]). Applied in this way, it is "form" in the Aristotelian sense of potentiality. While Sulzer does not offer us a very penetrating definition of the term in his surprisingly short article on "Anlage," he seems to have had this particular meaning in mind. Thus I have chosen to translate the term as "layout," suggestive of its etymological origin legen an, and more to the point, the general "laying out" of all possible ideas in a potential art work that will subsequently need to be "realized" and "elaborated," which is to say, selected, ordered, and refined.

This important admonition for moderation seems especially appropriate for several of our German poets, who are otherwise considered to be among the best. They seem to hold the illusion that emotions can never be stimulated too much. They would have all pain become madness and despair, abhorrence taken to the highest degree of horror, every desire turned into delirium, and every tender feeling to melting. ] {57} 3 Sulzer is probably referring here to the circle of post-Anacreontic poets led by Friedrich Gottlieb Klopstock (1724-1803).

Baker approached me and suggested that a translated selection of Sulzer s writings would complement her own work on Koch. The present book, Sulzer would surely appreciate, is an Ausfuhrung of her Anlage. A summer "Old Gold" research fellowship granted to me in 1994 by the University of Iowa greatly facilitated my completion of the project, and for this I am deeply appreciative. For his customary care in reading an initial draft of the introduction and the ensuing translations, I offer my thanks and acknowledgement to the series editor, Professor Ian Bent.

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