Since Edward Young's Conjectures on Original Composition published in 1759 the concept of original genius has been at the centre of considerations concerning creative processes. And George Frideric Handel's compositions were regarded not only by his contemporaries, but also by subsequent generations as an epitome of the creative power of a sublime artistic personality individualized in every sense. This image of the composer as a musical hero faltered in the course of the 19th century when it became known to what large extent Handel had taken excerpts from other composers’ works and based his own compositions on these borrowings. The argumentative tension resulting from the confrontation between claim of originality and borrowing practice can by retraced in Handel's Wirkungsgeschichte better than in any other reception history of an 18th -century artist. Moreover it can be shown that scholarly attempts to explain Handel's art of excerption have focused on the paradigm of the original genius until our days: aesthetic contemplation turns into history of humanities. Based on a selection of symptomatic documents the following article will exemplify and discuss these issues finally sketching some consequences for the analysis and interpretation of Handel's borrowing practice against the background of ars excerpendi.

中文翻译：

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“Was er angriff, wurde sein eigen” – Händels Exzerpierpraxis im Horizo​​nt der Genieästhetik

自 1759 年爱德华·杨 (Edward Young) 的《原创构图猜想》(Conjectures on Original Composition) 发表以来，原创天才的概念一直是有关创作过程的考虑中心。乔治·弗里德里克·亨德尔 (George Frideric Handel) 的作品不仅被他的同时代人视为他的作品，而且被后代视为在各个意义上都个性化的崇高艺术个性的创造力的缩影。这位作曲家作为音乐英雄的形象在 19 世纪动摇了，当时人们知道亨德尔在很大程度上摘录了其他作曲家的作品，并根据这些作品创作了自己的作品。原创性主张与借鉴实践之间的对抗所导致的争论张力可以在亨德尔的作品中追溯 s Wirkungsgeschichte 比任何其他 18 世纪艺术家的接待历史都要好。此外，可以证明，直到我们这个时代，学术界对亨德尔的摘录艺术的解释都集中在原始天才的范式上：审美沉思变成了人文史。下面的文章将根据一些有症状的文献来举例说明和讨论这些问题，最后勾勒出在ars excerpendi 背景下分析和解释亨德尔借用实践的一些后果。