A contemporary of Jean-Philippe Rameau and his Enlightenment  theories, Georg Philipp Telemann knew that the essence of the art  of sound was a universal harmony, expressed in the perfectly  regular structure of musical sound. But what if, on the subatomic  level, one hears not the music of the spheres at all, but noise, false  notes and glitches? Does this affect only the way we perceive  the works of the brilliant contemporary mannerist Salvatore  Sciarrino? Or perhaps also our perception of Telemann’s popular  Fantasies?