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beethoven

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The author, Miles Mathis, argues that Ludwig van Beethoven was Jewish, challenging the common narrative. He asserts that claims about beethoven’s family origins, particularly the “van” in his name indicating Flemish descent from Bettenhoven, are misdirection. Mathis suggests that beethoven’s great-grandfather, described as a baker, was actually a banker, citing his involvement in real estate and antiquities as evidence. The author points to supposed inconsistencies in the geographical origins of the beethoven family, claiming they are linked to Liege and Flanders but originated in Flanders where Flemish is spoken.

Mathis also questions beethoven’s paternal grandmother’s name, suggesting “Maria Poll” is a falsification of “Maria Ball,” linking beethoven to George Washington and implying a shared Jewish heritage. He further speculates on beethoven’s maternal lineage, identifying “Ursule Schenck” and “Eva Alber” as Jewish names and noting that Eva Alber’s family worked at the court of the Elector of Trier, a place Mathis considers a “Jewish/Phoenician center.” The author also finds significance in the name “Agnes Aussems,” referencing the Aussems Collection at the Tucson Jewish Museum, and suggests “Johann Schetter” might be a variation of the Jewish surname “Schechter,” associated with the Schechter Institute of Jewish Studies in Jerusalem.

The text further explores the possibility that beethoven’s mother, Maria Leym, was linked to Count Deym through marriage, suggesting a potential familial connection between beethoven and his “Immortal Beloved.” Mathis argues that portraits of beethoven are fake, intended to obscure his Jewish heritage and portray him as more Gentile. He criticizes the attribution of a prominent portrait to Joseph Stieler, claiming it’s not in his style and that a painter of King Ludwig’s stature wouldn’t paint a commoner. Another portrait attributed to Christian Horneman is also dismissed as a fake. The author also declares beethoven’s death mask to be a fabrication, citing inconsistencies in various forms and the absence of wrinkles.

Mathis posits that Count Deym, a sculptor, may have been involved in faking the death mask. He then draws connections between Josephine von Brunszvik, Count Deym’s wife and beethoven’s mistress, and Karl Marx, suggesting a shared origin in Pressburg and Jewish textile merchant families like the Philips of Philips Electronics. The author emphasizes the link to Trier again, associating it with Marx and beethoven’s Albers.

Finally, Mathis contrasts the supposed fake portraits of beethoven with a portrait of his grandfather, which he believes to be genuine and indicative of beethoven’s Jewish or Phoenician heritage, characterized by a long nose and face. He suggests that ornaments in the grandfather’s portrait were removed to support the “commoner” narrative. The author also highlights beethoven’s association with the von Breunings, Franz Wegeler, and Count von Waldstein, all of whom he identifies as Jewish or having Jewish connections. He mentions Waldstein’s family ties to Liechtenstein, Salm-Salms, Furstenbergs, Lowensteins, Wertheims, Rocheforts, Sternbergs, Kinskys, and Spielbergs. Franz Wegeler is identified as a Freemason and his name as Jewish, while the von Breunings are described as nobles who welcomed beethoven due to his perceived Jewish identity, with connections to various European royal houses. Mathis concludes by stating his intention is not to discredit beethoven but to reveal what he believes to be the truth about his heritage and the surrounding historical narratives.

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