¹ Aspden addresses Wye J. Allanbrook's scepticism regarding Handel and the eighteenth-century sublime directly, identifying it as ‘based on a very partial, Germano-centric reading of the literature’ (p. 67, with reference to Allanbrook, , ‘Is the Sublime a Musical Topos?’, Eighteenth-Century Music 7/2 (2010), 263–79CrossRefGoogle Scholar).

² Stanyon (a scholar of eighteenth-century literary culture) admits that ‘this chapter has perhaps played fast and loose with harmony’ (p. 199). She suggests a range of possible ways that ‘harmony’ could relate to the sublime, beginning with Longinus (p. 178) and ending with an exploration of the ‘confounding semantic range’ of the word (pp. 195–99).