The revival of early music performed on original instruments has resurrected the role of the violinist-conductor ‘maestro dei concerti’, one historical designation among many describing a conductor equipped with an instrument rather than a baton. Prior to this revival, one rarely saw an orchestra led without a baton, particularly if the orchestra was sizeable. Exceptions included a few historically minded ensembles – here I'd like to mention I Musici of Rome for the baroque repertory and, for a case involving a large symphonic orchestra, the Vienna Philharmonic's 1996 New Year's Eve Concert, at which Lorin Maazel directed one of the popular Strauss encores from the violin. Yet the idea of having a violinist conduct a romantic symphony, let alone a nineteenth-century opera, seems hardly conceivable today. Such a lost practice, though common in the past, would be bound to baffle modern audiences.

Around 1800 a group of critics worried that new music was in danger of losing its social relevance. In their eyes music had become severed from the religious practices which had formerly provided its purpose and now exhibited a mercurial style that threatened its intelligibility, leading to a host of anxieties about its role in the contemporary world. This article argues that these concerns form the basis of an elegiac discourse of musical modernity, one resonating with broader philosophical concerns of the period. Taking Hoffmann's ‘Alte und neue Kirchenmusik’ as the central text, my narrative explores how he and others sought to rehabilitate modern music in the wake of a perceived social upheaval. This rehabilitation chiefly occurred at the hands of critics, who approached the complexities of new musical works by attempting to elucidate them through analysis. Hoffmann's review of Beethoven's Fifth Symphony belongs in this narrative as a characteristic attempt to secure new music's meaning.

An unprecedented shift in the portrayal of Cupid took place in the Spanish mythological zarzuela during the years surrounding the War of the Spanish Succession (1701–1714). For the first time ever, Cupid was depicted not as a god of chaste or erotic love, but as a god at war with other deities. And in every work, a female actor-singer, not a male performer, played the fiery but mournful character. In this article I first explore the cultural understanding of Cupid in early eighteenth-century Spain as articulated by Spanish mythographers of the era, and as seen in the earliest representations of Cupid in Spanish theatre. I then investigate the intersection of myth, allegory, war and music theatre in a case study – the zarzuela Las nuevas armas de amor (Love's New Weapons, 1711) – suggesting that in this work Cupid functioned as an allegorical representation of the Spanish king, and that the deity's struggles for power mirrored the monarch's plight during a time of great political instability. Moreover, I argue that the pre-existing local theatrical practice of cross-dressing allowed for the portrayal of a defeated and sobbing Cupid in the zarzuela.

This article responds to recent arguments that worshipping God cannot be obligatory. It shows how a respect-based account of worship is compatible with the claim that only God is worthy of worship, and compatible with the view that worship is very different from attitudes we owe to creatures. Then, it develops a respect-based account in enough detail to show how our moral motivations to respect creatures generate an obligation to worship God. The upshot is an analysis of worship which can weather recent arguments that worshipping God is not morally motivated.

The connection of music to scientific exploration in late Enlightenment London can be considered from various perspectives, perhaps most evidently through the binary of amateur–professional. These two realms intersected within natural philosophical observation, a practice that often served concurrently as entertainment and as study. The development of scientific instruments for the observation of various phenomena appeared in both professional and amateur contexts, contributing to technological growth and research. Natural philosopher Tiberius Cavallo (1749–1809) and his 1788 article on musical temperament (‘Of the Temperament of Those Musical Instruments, in Which the Tones, Keys, or Frets, are Fixed, as in the Harpsichord, Organ, Guitar, &c’) provide a captivating example of amateur interest overlapping effectively with the professional domain; as an amateur musician and professional scientist, Cavallo observed equal temperament in both mathematical and aesthetic terms. Consideration of his work promotes a more nuanced view of London as a place where scientific and musical ideas could meet and be ‘instrumentalized’, emphasizing the city's status as a vibrant arena for the interaction of scientific exploration, artistic endeavour and professional identities. In this sense, Cavallo's work on temperament was not merely a scientific activity; it reflected technological change during a stimulating period of scientific and musical progress in late eighteenth-century London. For example, instrument builders were actively developing ways to improve pitch control and tuning stability, as witnessed by numerous British patents for harp mechanisms, the addition of flute keys and keyboard construction.