Praktyka wobec teorii w traktacie Abhandlung über die Komposition G.H. Stölzela
Practice versus Theory in the Treatise “Abhandlung über die Komposition” by Gottfried Heinrich Stölzel

Summary/Abstract: Gottfried Heinrich Stölzel (1690–1749) integrated compositional practice with theoretical reflection, seeking connections between music and nature, as well as a balance between rational reasoning and sound aspect. The article aims to discuss Stölzel’s unfinished treatise “Abhandlung über die Komposition” (c. 1728–1749) from the point of view of the issues it addresses and to relate the approach presented in it to the composer’s theory of music. An analysis of the treatise reveals four predominant thematic areas: the doctrine of intervals, the doctrine of triads, the doctrine of treating dissonance, and the doctrine of imitation. In this respect, the composer follows his other treatise on composition, Anleitung zur musikalischen Setzkunst (c. 1735–1738), but in terms of the issues discussed, he focuses on practical rules of composition, taking into account the available freedoms. He posits that rational reasoning constitutes the foundation of the compositional process, complemented by creative invention, with the sound impression serving as the criterion of verification.

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