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4 Mattheson, Der Vollkommene Capellmeister, 227–228. All translations are mine unless otherwise noted.

5 Mattheson, Der Vollkommene Capellmeister, 210–211.

6 Translation in Marissen, Michael, Bach's Oratorios: The Parallel German-English Texts (New York: Oxford University Press, 2008), 119Google Scholar.

7 See also Little, Meredith and Jenne, Natalie, Dance and the Music of J. S. Bach (Bloomington: Indiana University Press, 1991), 276–278Google Scholar.

8 de Brossard, Sébastien, Dictionnaire de Musique (Paris: Ballard, 1703)Google Scholar, no pagination.

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10 Mattheson, Der Vollkommene Capellmeister, 228.

11 Mattheson, Der Vollkommene Capellmeister, 212.

12 Kivy, Peter, The Corded Shell: Reflections on Musical Expression (Princeton: Princeton University Press, 1980)Google Scholar. This is not the place for a comprehensive review of multiple competing perspectives concerning music and/as expression; my working definition is intended to be neither exhaustive nor exclusive. For a useful summary see Andrew Kania, ‘The Philosophy of Music’, in The Stanford Encyclopedia of Philosophy, ed. Edward N. Zalta, https://plato.stanford.edu/entries/music/ (17 June 2019).

13 Juslin, Musical Emotions Explained, 138 and 115.

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15 On turgid invention and artificial counterpoint see Scheibe, Der Critische Musikus, 46–47; on repetitiveness see Johann Mattheson, Critica Musica, two volumes, volume 2 (Hamburg, 1725), 368.

16 For a useful, if slightly dated summary of these different models see Ortony, Andrew and Turner, Terence J., ‘What's Basic About Basic Emotions?’, Psychological Review 97/3 (1990), 315–331CrossRefGoogle Scholar. See also Prinz, Jesse J., Gut Reactions: A Perceptual Theory of Emotion (Oxford: Oxford University Press, 2004), 86–88Google Scholar.

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26 See, for instance, Johann Heinrich Zedler's definitions of ‘flüchtig’ in his Grosses vollständiges Universal-Lexicon aller Wissenschaften und Künste, sixty-eight volumes, volume 9 (Halle: Zedler, 1735), 1345.

27 See Scruton, Aesthetics of Music, 143.

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30 Mattheson, Johann, Das Neu-Eröffnete Orchestre (Hamburg: Schiller, 1713), 237Google Scholar. To be fair, Mattheson himself also voiced some scepticism about this method; see 232.

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37 Gould, Glenn, Bach, Johann Sebastian, The Well-Tempered Clavier, Book II, The Glenn Gould Edition (Sony Classics B01MQ22QMB, 1994)Google Scholar. For the commentary (in a review of Edwin Fischer's recording of the set) see ‘The Gramophone Choice’, Gramophone http://www.gramophone.co.uk/editorial/bachs-well-tempered-clavier (17 June 2019).

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40 My thanks to Werner Breig for drawing my attention to this piece.

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43 Elin Diamond and Elizabeth Bronfen, review of Carolyn Abbate, In Search of Opera, Cambridge Opera Journal 17/2 (2005), 215.

44 Leech-Wilkinson, Daniel, The Changing Sound of Music: Approaches to Studying Recorded Musical Performances (London: CHARM, 2009)Google Scholar, chapter 2.1, paragraph 20, http://www.charm.rhul.ac.uk/studies/chapters/chap2.html (17 June 2019).

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56 Cumming, ‘The Subjectivities of “Erbarme Dich”’, 8.

57 Cumming, ‘The Subjectivities of “Erbarme Dich”’, 9–10, 22.

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60 Quantz, Versuch einer Anweisung, 61. Translation adapted from Quantz, On Playing the Flute, 79.

61 Quantz, Versuch einer Anweisung, 106. Translation in Quantz, On Playing the Flute, 203.

62 Quantz, Versuch einer Anweisung, 4. Translation adapted from Quantz, On Playing the Flute, 13.

63 Rupert Christiansen declared Sellars's staging of Bach's St Matthew Passion a ‘tasteless spectacle best appreciated with eyes closed’. See his review in The Daily Telegraph (7 September 2014) http://www.telegraph.co.uk/culture/music/proms/11079980/BBC-Prom-66-St-Matthew-Passion-review-verging-on-ludicrous.html (17 June 2019).

64 McClary, Susan, ‘Introduction: On Bodies, Affects and Cultural Identities in the Seventeenth Century’, in Structures of Feeling in Seventeenth-Century Cultural Expression, ed. McClary, Susan (Toronto: University of Toronto Press, 2013), 3–4CrossRefGoogle Scholar. Of course, this ‘simulation’ was equally governed by detailed sets of rules concerning postures, gestures and facial expressions in stage acting. See Termini, Olga, ‘The Role of Diction and Gesture in Italian Baroque Opera’, Performance Practice Review 6/2 (1993)CrossRefGoogle Scholar: Article 7 https://scholarship.claremont.edu/ppr/vol6/iss2/7.

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70 Kivy, Peter, Music Alone: Philosophical Reflections on the Purely Musical Experience (Ithaca: Cornell University Press, 1991), 162Google Scholar.

71 Scheibe, Der Critische Musikus, 85.

72 Hirschmann, Wolfgang, ‘“Nachdruck” und “edle Simplizität” in Telemanns Kirchenmusik’, in Telemann und die Kirchenmusik, ed. Lange, Carsten and Reipsch, Brit (Hildesheim: Olms, 2011), 34Google Scholar. In Hirschmann's analysis, these features add up to a compelling example of ‘edle Einfalt’ (noble simplicity), that guiding aesthetic category of eighteenth-century Empfindsamkeit invoked by Mattheson and later Johann Georg Sulzer, in which art reached its greatest emotional potential through a self-conscious artlessness.

73 Cumming, following Manfred Clynes, identifies this as an archetypal ‘grief’ gesture: ‘The Subjectivities of “Erbarme Dich”’, 22.

74 Hirschmann, ‘“Nachdruck” und “edle Simplizität” in Telemanns Kirchenmusik’, 37. On this process of ‘Verinnerlichung’ see Laurenz Lütteken, Das Monologische als Denkform in der Musik zwischen 1760 und 1785 (Tübingen: Niemeyer, 1998), 29–33.

75 Georg Philipp Telemann, Johannes-Passion, ed. Felix Schroeder (Zurich: Eulenburg, 1976). According to Hirschmann, the same instruction accompanies one further aria in the work, ‘Es bleibet dabei’ (No. 49); see Hirschmann, ‘“Nachdruck” und “edle Simplizität” in Telemanns Kirchenmusik’, 32.

76 Heinichen, Der General-Bass, 60.

77 Austern, Linda Phyllis, ‘Introduction’, in Music, Sensation and Sensuality, ed. Austern, Linda Phyllis (New York: Routledge, 2002), 6Google Scholar.

78 Le Guin, Boccherini's Body, 36.