Beethoven's Political Music, the Handelian Sublime, and the Aesthetics of Prostration Author(s): Nicholas Mathew Source: 19th-Century Music, Vol. 33, No. 2 (Fall 2009), pp. 110-150 Published by: University of California Press Stable URL: http://www.jstor.org/stable/10.1525/ncm.2009.33.2.110 . Accessed: 26/08/2013 09:38 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact
[email protected]. University of California Press is collaborating with JSTOR to digitize, preserve and extend access to 19th- Century Music. http://www.jstor.org This content downloaded from 146.232.93.77 on Mon, 26 Aug 2013 09:38:49 AM All use subject to JSTOR Terms and Conditions 19TH CENTURY MUSIC Beethoven’s Political Music, the Handelian Sublime, and the Aesthetics of Prostration NICHOLAS MATHEW Viennese Handel and the Power of Music Handel’s music even as he lay dying: music historians have long cherished the image of Johann Reinhold Schultz, reporting on a dinner Beethoven on his deathbed, leafing through all in 1823 at which Beethoven had been present, forty volumes of Handel’s works, sent as a gift recorded that Beethoven had declared Handel from London.