«Socrates and Jesus were my Masters.»
(L.V. Beethoven, "Conversation Books")


"I am Bacchus [Jacob] incarnate..."
(Luis Van Beethoven).

Beethoven called himself "Bacchus incarnate", "a Son of Apollo", "a Priest of Apollo", "a Christian and in Apollo".

Beethoven "Priest of Apollo":

"… The correspondence and the forwarding take too much of my time, and a priest of Apollo ought anyhow to be spared this. Unfortunately circumstances demand that one's thoughts must be turned from the celestial sphere earthwards…" (Beethoven's Letter to "… SCHLESINGER, Music Publisher, Berlin, Baden, July 15th, 1825)." ("BEETHOVEN'S LETTERS A CRITICAL EDITION WITH EXPLANATORY NOTES BY DR. A. C. KALISCHER TRANSLATED WITH PREFACE BY J. S. SHEDLOCK, B.A.")

Beethoven: a Christian and in Apollo:

In a Letter to his Friend "Hauschka" (Baden, September 23, 1824), Beethoven writes to him in a postscript, calling himself: "a Christian and in Apollo, B.".

In the "Orphic Hymn to Mise" or "Mises", whom the ancients identified with Moses or Musaeus, the "Disciple" of Orpheus, Bacchus, or Dionysus the Lawgiver, is invoked as "Iacchus the Liberator" (Bacchos, Iacchos Iacchob or Jacob) and as the Son of "the Venerable Goddess Isis".

Shown below is an image with archaic Greek texts followed by the corresponding translation into Spanish made by Esteemed Sisters of our dear Community:


The Fumigation from Storax
I call upon Dionysus, the lawgiver, who bears the leafy rod, unforgettable and glorious seed of Eubouleus, and upon holy, sacred and ineffable queen Mise [Mises], whose two-fold nature is male and female, Iacchus the liberator: whether you delight in thy fragrant temple at Eleusis, or with thy Mother you partake of mystic rites in Phrygia, or you rejoice in Cyprus with fair-garlanded Cytherea [Venus], or you exult in hallowed wheat-bearing fields along Egypt's river, with thy black-robed Mother, the Venerable Goddess Isis, and her servant nurses: I summon thee, kindheartedly come to those contesting for noble prizes.

In ancient times, Mises was identified with Moses:

"... Now [the name] Mifes [Mises] differs not from Mofes [Moses] fave [save] in punctuation..." ("THE COVRT, OF THE GENTILES: PART I. Of Philologie. CHAP. III. The Theogenie of Bacchus from sacred or Hebrew Names and Traditions, Bacchus's parallel with Mofes. By Theophilus Gale.").

The real theme of the "Ninth" (Symphony) "is Jacob's struggle with the Angel..."

In "the biblical accounts of the person and the events in the life of Moses... we find... the mystical Person of Osiris, or the Egyptian Bacchus... This Osiris,... in the Orphic hymns appears as Moses,..." (From the book "The Hebrew Mysteries, or the oldest religious Freemasonry" by Carl Leonhard Reinhold, or Br. Decius, First Edition, Leipzig, 1788...).

In this book ("The Hebrew Mysteries..."), the Poet Schiller (author of the lyrics of the "Ode to Joy" of Beethoven's "Ninth Symphony"), there are the sources of the "Essay" titled "The Mission of Moses", and from which "the Poet of Freedom" (Schiller) took the words of the Goddess and Divine Mother Isis-Minerva-Neith that Beethoven wrote in his own handwriting, keeping them constantly before him on his writing desk. It might be that Beethoven had known "The Hebrew Mysteries..." and had therefore read about the identity of Bacchus incarnated in Moses to which its author refers.

"... For many centuries the Oriental fables attributed to Bacchus all that the Jews had said of Moses." (H.P. Blavatsky [Theosophical Glossary, Spanish Edition]).

"IACCHUS" is "Another name for Bacchus".

"IACCHOS... would be no other than the reincarnation of Zagreus [Bacchus]... According to tradition, Minerva herself nursed him..." (J.F.M. Noël, "Diccionario de Mitología Universal [Dictionary of Universal Mythology]").

Semele, or Demeter, is the Divine Mother who gave birth to Bacchus. Minerva is the Divine Mother who nursed Bacchus.
Likewise, Jochebed was the Hebrew Mother who gave birth to Moses, and Bathia, the Egyptian Pharaoh's Daughter, was the Mother who adopted him.

Bacchus or Iacchus is Yacov or Jacob.

Moses was the Egyptian Bacchus.

Beethoven was Bacchus incarnate.

The Moses of Michelangelo is represented flanked by Rachel and Leah, Jacob-Bacchus' two spiritual Wives.

Beethoven is, was, and will forever be the "Musician-Poet" par excellence. Anyway, his Music-Poetry is owed to the Spirit of Apollo and to his inspirational Muses and to Beethoven's Love for the Woman! For The Ideal Woman... Without Her, who "is the whole course of" his "life", we would not have had his Music, his Poetry, expressed in Musical Poems.

- Luis van Beethoven and His Immortal Beloved
Josephine ("Pepi") Brunswik -
Please, see also:
Letters by Beethoven and Josephine
The Eternally Beloved

"… Beat only in silence <oh> poor heart ---- you cannot do otherwise --- for you ----- always for you ---- only you ------ eternally you -----" ("Vienna, Spring 1805". Beethoven's Letter to Josephine).

"Love alone - yes, only love can give you a happier life! Oh God - let me - let me finally find the one who will strengthen me in virtue - who will lawfully be mine - Baden, July 24 [1807]." (Luis van Beethoven).

"... I hope – that [...] wherever I happen to be your image will always follow me – as it is the whole course of my life..." (Beethoven's Letter to Josephine. Heiglnstadt, September 20, [1807]).

"The musical conductor -said Wagner- who sees in one of Beethoven's tone-works nothing but the music, is exactly like a reciter who should hold only by the language of a poem, or the explainer of a picture who could not get beyond its colour. This, however, is the case with our conductors, even in the best instances – for many do not even so much as understand the music; they understand the key, the themes, the working of the parts, the instrumentation, and so on, and think that with these they understand the whole of the content of the tone-work".


Luis v. Beethoven stated that his String Quartet, Opus 131: "… Was his greatest work in this genre."

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Luis v. Beethoven, String Quartet Opus 131, Sixth Movement. ("Royalty Free Music": fees have been paid for its use synchronized with this Flash presentation.)

Beethoven 20 de Marzo 1827

"One of the last signatures of Beethoven (March 20, 1827). This is the agreement pertaining to the String Quartet, opus 131, made with Schott & Sons, Mainz. It was signed [by Luis v. Beethoven] six days before the composer's death..."


(Publication of Luis v. Beethoven's String Quartet Opus 131 in the month of April 1827).

"Completed in [the month of July] 1826, a few months before his death, [the "Quartet Op. 131"] was already regarded after its publication in 1827 as the most beautiful of his production."

- I -
Beethoven Great Master of the White Lodge and Guardian of the Temple of Music

"... He is a genius of the Divine art, officiating in the Temple of Music…" "... His hair [is] long and grey, his countenance, which looks like lightning, clearly reveals the majesty of GOD..."

"The Will when far from [celestial] music is rough and coarse,..."

"... Music is the Will of GOD…"

"... Music is Christ-Will."
(Teachings by our V.M. Samael Aun Weor).

"Music is the one incorporeal entrance into the higher world of knowledge which comprehends mankind but which mankind cannot comprehend..."
"Music, verily, is the mediator between intellectual and sensuous life." (L.v. Beethoven.)

"Beethoven, that great musician, is always at the thresholds of the Temple in the Causal World."


"In the world of natural causes I understood the need to learn to obey the Father on Earth as it is in heaven."

"Certainly, one of my greatest joys was to enter the temple of the music of the spheres in that cosmic region."

"At the threshold of that temple, the Guardian taught me one of the secret greetings of the Occult Fraternity."

"That Guardian's countenance looked like lightning; when that man lived in the world his name was BEETHOVEN." (Teachings by our V.M. Samael Aun Weor).

"Beethoven's music is most especially extraordinary to make the higher emotional centre vibrate intensely."

"The sincere Gnostic finds in it an immense field of mystical exploration, as it is not music of form but of ineffable archetypal ideas; every note has its meaning; every silence [has] a higher emotion."

"Beethoven, when feeling so cruelly the rigors and trials of the 'spiritual Night', instead of failing as many aspirants did, gradually opened the eyes of his intuition to the mysterious super-naturalism, to the spiritual aspect of nature, to that region where the angelic Kings of this Great Universal Creation dwell: Tlaloc, Huehueteotl, etc., etc."

"See the 'musician-philosopher' throughout his exemplary existence. On his desk he constantly kept before him his Divine Mother Kundalini, the ineffable NEITH, the TONANTZIN of ANAHUAC, the supreme Egyptian Isis."

"We have been told that this great Master had placed an inscription at the bottom of that adorable image written in his own handwriting, which mysteriously reads:"

"I am she who has been, is and will be, and no mortal has lifted my veil".

"The inner revolutionary progress is impossible without our Divine Mother Tonantzin's immediate aid."

"Any grateful son must love his mother; Beethoven loved his dearly." (Teachings by our V.M. Samael Aun Weor).

"The Spiritual Night is for everyone: men and women. It can last months or many years, time does not vary. Most of the people run away, they indulge in drinking, drugs, they escape... Rare are those who, I repeat, have strength and tenacity enough to get to the end. Those who persevere will be saved; those who persevere will attain Enlightenment; those who persevere will progress along the Path of Initiation. That is all!" (Teachings by our V.M. Samael Aun Weor).

"During the Spiritual Night the aspirant feels completely alone; he is left without help, his Transcendental Faculties are dormant, he is without support and up there, in the Higher Worlds, he cannot be received either, because he still has the Animal Ego. So, he is not happy because he is not accepted above and does not feel any pleasure in the wilderness of life."

"Such is the Spiritual Night!: Treading on this harsh wilderness without food for his 'hunger', without water for his 'thirst'. Rare are those who emerge victorious from that harsh trial, most of the people fail. They end up drowning their suffering in wine or they fall into the bed of Procrustes, of fornication. So, indeed, the Spiritual Night is for all those who enter the Path, the Way. All of you will have to go through this harsh trial. Some of you will emerge victorious, others will fail. They will prefer silly things, to return to their dear world they love so much, etc. Who will be able to withstand the harsh trial of the Spiritual Night?..." (Teachings by our V.M. Samael Aun Weor).

"... Certainly BEETHOVEN went through the SPIRITUAL NIGHT and emerged victorious from the trial..." (Teachings by our V.M. Samael Aun Weor).

"... As the "Ninth" develops, its real theme is Jacob's struggle with the Angel..."

"Beethoven, in his essential doctrine, in his symbolism, has hardly been understood by Liszt and is still to be deciphered by the multitude of musicians. [...] his true testament must be found in [...] the colossal anxiety of the 'Ninth' and the 'Missa'; and in that titanic attempt, one should love him more and judge him greater. In those works, this Jacob struggled as the Angel." [...] "I cannot help thinking of the most beautiful song I know in the orchestral universe! It is by Beethoven..."

- II -
In the "House of the Black Spaniards".

Between the years 1824 and 1826, Luis van Beethoven wrote his last Works for String Quartets (two violins, viola and cello) and a "Great Fugue" for piano-four hands.

The "chronological" sequence is the following:

Opus 127, String Quartet No. 12 (1824).
Opus 132, String Quartet No. 15 (1825).
Opus 130, String Quartet No. 13 (1825).
Opus 133, "Great Fugue" for String Quartet (1825).
Opus 134, "Arrangement for Piano-4-hands" of the "Great Fugue" Opus 133 (1825).
Opus 131, String Quartet No. 14 (1826).
Opus 135, String Quartet No. 16 (1826).

Beethoven's original manuscript of his "Opus 134, Arrangement for Piano-4-hands" was lost for over 100 years. It was found in a "80-page notebook" in a basement cabinet of a library in Philadelphia, United States, in the month of July 2005, and it is regarded as "the longest and most important Beethoven manuscript to have appeared... in living memory".

"The document is written in brown and black ink and includes annotations in pencil and red crayon. It captivates because of its many alterations and corrections and also a series of erasures so deep that they left holes in the different paper-types used by the composer. Some pages are smudged with ink, probably because Beethoven dragged the sleeve of his skirt across the still-fresh ink, while other pages were pasted over with red sealing-wax to cover mistakes,..."

Among the Works for Piano-Four-Hands, Luis V. Beethoven composed the song "ich denke dein" ("I think of you") in 1799 (*), which Beethoven in his heart especially dedicated to his Eternally Beloved Josephine.

* (On "July 26, 1809", in a Letter written to "BREITKOPF and HAERTEL, Leipzig", Beethoven writes to him announcing that "you will shortly receive the song 'ich denke dein' which was to have been included in the unfortunate Prometheus..."

In her "Diary" in 1860, Josephine's sister, Therese von Brunswick, wrote that the letters to the "Immortal Beloved" written by Luis van Beethoven on July 6 and 7, 1812:

"... must have been addressed to Josephine whom he [Beethoven] loved passionately..."

Beethoven in his heart dedicated the "Piano Sonata No. 23 Op. 57 F minor", "Appassionata" (1804) to Josephine.

Of the 15 Letters written by Beethoven to Josephine, until the Letter 14 Beethoven still cherished the hope to meet his Beloved Josephine again. However, as we can read in the last of the 15 Letters, Beethoven complains to Josephine that the impossibility to see her is not only because of Her, but mostly "at the behest of others" (Josephine's relatives).

The texts (translated into English) of the last two Letters (known so far) of the correspondence between Beethoven and Josephine are the following:

403. Countess Josephine Deym to Beethoven

[Vienna, perhaps Fall 1809]

For a long time, indeed, I have desired to receive news about your well-being, and I would have informed myself long ago, if discretion had not held me back. – Now tell me, how are you, what are you doing? How is your health, your mood, your way of life – the deep interest which I take in all that concerns you, and which I will take as long as I live, gives me the desire to have news about you. Or do you believe, my friend Beethoven, may I call you so, that I have changed. – Such a doubt would imply to me nothing else but that you yourself are no longer the same.

404. Beethoven to Countess Josephine Deym
[Vienna, perhaps Fall 1809]

My dear Josephine please deliver this Sonata to your brother – I thank you for wishing still to appear as if I were not altogether banished from your thoughts, even if this happens perhaps more at the behest of others – you want me to tell you how I am, a more difficult question could not be put to me – and I prefer to leave it unanswered, rather than – to answer it too truthfully – farewell dear J.

as always your eternally devoted

In July 1812 Beethoven wrote the Letter to the "Immortal Beloved" (Josephine)...

14 years later, in July 1826, he finished composing the String Quartet No.14 Opus 131.

In October 1825, Luis van Beethoven, called "the Spaniard" by his friends, went to live in a room on the second floor of a house in Vienna which, in the early XVIIth century, was a former monastery and church of Catalan Benedictine monks "consecrated to the worship of the black Virgin of Montserrat". It was called the "House of the Black Spaniards"; and although it later served as "a storage house for military beds" and was converted into an "apartment house", when Beethoven settled in it, it still kept a monastic atmosphere.

The church and the monastery had been demolished, and they were rebuilt afterwards...

"The Viennese called the Benedictines 'black Spaniards' to tell them apart from the Dominicans, or 'white Spaniards'..."

By a strange "causality", Beethoven, the Bacchus or Yaacob of Music, spiritually accompanied by his Rachel and his Leah who integrated His Idealized Spiritual Beloved into One Unity, who worshiped the Egyptian Divine Mother Isis with all his heart, by the end of his existence, settled in that ancient monastic… two-story house wherein "the Black Virgin" was worshiped...

"Formerly the subterranean chambers of the temples served as abodes for the statues of Isis, which, at the time of the introduction of Christianity into Gaul, became those black Virgins, which the people in our day surround with a quite special veneration. Their symbolism is, moreover, identical; both the one and the other bear the same famous inscription on their base: Virgini pariturae; To the Virgin about to give birth. [...] tells us of several statues of Isis, described in the same way. «Already -says the learned Pierre Dujols, in his Bibliographie générale de l'Occulte, the scholar Elias Schadius, in his book De dictis Germanicis, had pointed out a similar inscription: Isidi, seu Virgini ex qua filius proditurus est (2). So these icons appear to have none of the Christian meaning ascribed to them, at any rate exoterically. Isis before conception is, [...], in astronomical theogany, that attribute of the Virgin, which several monuments considerably prior to Christianity describe under the name of Virgo paritura, that is to say the earth before its fecundation and which the rays of the sun are soon going to bring to life. She is also the mother of the gods, as is attested by a stone at Die: Matri Deum, Magnae Ideae.» The esoteric meaning of our black Virgins cannot better be defined. They represent in hermetic symbolism the virgin earth, which the artist must choose as the subject of his great work." (From "The Dwellings of the Philosophers" by Fulcanelli).

"In his Notice sur l'Antique Abbaye de Saint-Victor de Marseille (Notes on the Ancient St Victor Abbey in Marseilles), Abbott Laurin speaks of the custom, still followed by the people, to carry green tapers during the processions of the Black Virgin. These tapers are blessed on February 2, say of Purification, commonly known as the Candlemas." (From "The Dwellings of the Philosophers" by Fulcanelli).

- III -
The String Quartet No. 14 Opus 131

It was in that "Philosopher's Dwelling" where Beethoven composed, among other Works, the String Quartet No. 14 in C sharp minor, Opus 131, between December 1825 and July 1826.

Of this sublime String Quartet, "consisting of seven movements played without interruption", Beethoven said to a friend:

"... a new manner of part-writing and, thank God, less lack of imagination than before!".

Beethoven said "jokingly" that this Quartet was "gathered together from various things here and there"; adding, however, that "The quartet is wholly and rigorously new".

Later, Richard Wagner said of Luis van Beethoven's String Quartet Opus 131:

"If we would set before ourselves the picture of a day from our "holy one's" [Beethoven's] life, we scarce could gain a better than from one of those marvellous tone-pieces themselves; though, not to deceive ourselves, we must follow the course we adopted when referring the genesis of music as an art to the phenomenon of the dream, that is to say, employing it as a mere analogy, and not identifying one thing with the other. In illustration of such a veritable day from Beethoven's inmost life I will choose the great C-sharp minor quartet [the Quartet No.14 Opus 131] and what we scarce could do while listening to it, as we then are forced to leave behind all cut-and-dry comparisons and give ourselves entirely to the direct revelation from another world, we may find attainable in a measure when conjuring up this tone-poem in our memory. Even thus, however, I must leave the reader's phantasy to supply the living details of the picture, and therefore simply offer the assistance of a skeleton outline."


"The lengthy opening adagio, surely the saddest thing ever said in notes, I would term the awaking on the dawn of a day that in its whole long course shall ne'er fulfil one wish, not one wish! Yet it is alike a penitential prayer [Teshuvah], a communing with God in firm belief of the Eternal Goodness."

"The inward eye then traces the consoling vision (allegro 6/8), perceptible by it alone, in which that longing becomes a sweet but plaintive playing with itself: the image of the inmost dream takes waking form as a loveliest remembrance."
"And now (with the short transitional allegro moderato) 'tis as if the Master, grown conscious of his art, were settling to work at his magic."

"Its re-summoned force he practises (andante 2/4) on the raising of one graceful figure, the blessed witness of inherent innocence, to find a ceaseless rapture in that figure's never-ending, never-heard-of transformation by the prismatic changes of the everlasting light he casts thereon."

"Then we seem to see him, profoundly gladdened by himself, direct his radiant glances to the outer world (presto 2/2): once more it stands before him as in the Pastoral Symphony, all shining with his inner joy; 'tis as though he heard the native accents of the appearances that move before him in a rhythmic dance, now blithe now blunt (derb)."

"He looks on life, and seems to ponder (short adagio 3/4 [Kol Nidrei]) how to set about the tune for life itself to dance to: a brief but gloomy brooding, as if the Master were plunged in his soul's profoundest dream."

"One glance has shewn him the inner essence of the world again: he wakes, and strikes the strings into a dance the like whereof the world had never heard (allegro finale). 'Tis the dance of the whole world itself: wild joy, the wail of pain, love's transport, utmost bliss, grief, frenzy, riot, suffering; the lightning flickers, thunders growl: and above it the stupendous fiddler who bans and bends it all, who leads it haughtily from whirlwind into whirlpool, to the brink of the abyss; he smiles at himself, for to him this sorcery was the merest play." (Richard Wagner).

Schubert remarked about the Quartet Opus 131:

"After this, what is left for us to write?"
Although it was never performed in Luis v. Beethoven's lifetime, its performance;
"... took place in November 1828, at Schubert's request, just five days before Schubert's death..."

- IV -
Kol Nidrei and Yom Kippur

"The main Theme in the Sixth Movement of Beethoven's String Quartet, Op. 131, also appears to be based on the Kol Nidre melody."

"In the first bars of Beethoven's string quartet op. 131 [Sixth Movement "adagio quasi un poco andante"], the opening theme of Kol Nidrei is recognizable,..."

It is believed that Beethoven possibly knew the music of "Kol Nidrei" performed by members of the Jewish Community in Vienna.

"Kol Nidrei" in Aramaic means "all vows" and is a chanted prayer of deep and supreme repentance raised to God that is recited three times before sunset on "Yom Kippur", or "Day of Atonement".

"Indeed, the Kol Nidrei resonates in accordance with the millennial clamor and brings forth a very particular atmosphere in the Beit Haknesset; the melody conveys a very strong emotion, creating a spiritual strength that evokes the great significance of the day ahead."

It is possible that Luis v. Beethoven, sensing the approaching of the end of his cycle in that existence, incorporated the opening motive of the very beautiful and moving Chant-Prayer of repentance "Kol Nidrei", which is recited in the evening before sunset on the "Day of Atonement" ("Yom Kippur"), into the Sixth Movement of his Great Work "String Quartet No. 14, Opus 131".

In the Esoteric Spiritual "Yom Kippur" celebration, the Shekinah Malchut, or Rachel, rises up to be integrated in Binah, or Leah, and then "Malchut", or Rachel, "enclothes Binah", or Leah.

"The Illumination of Binah in Malchut is on the Tenth Day of the Month."

"The second Tables of the Law were given on Yom Kippur."

When the Prophet Moses was ordered to take his sandals off his feet, he was being ordered to separate sexually from his Wife Zipporah to be able to Marry the Holy Shekinah Spiritually in his second ascent to the top of Sinai to receive the second Tables of the Law of God.

When the Prophet Moses was on Mount Sinai in his second ascent, He spiritually Married Leah. And when he came down with the Tables of the New Pact or Covenant with YHVH, his Face was shining. When Moses came down, "Yom Kippur" was celebrated, and he spiritually Married Rachel being Enclothed in Binah.

Isaac Luria explains that what is written in Exodus 34: 4 and following "refers to the coupling of Ze'ir Anpin with Leah". And after that, when Moses came down, it refers to "the coupling of Jacob and Rachel":

"So Moses chiseled out two stone tablets like the first ones and went up Mount Sinai early in the morning, as YHVH had commanded him; and he carried the two stone tablets in his hands. Then YHVH came down in the cloud and stood there with him and proclaimed his name, YHVH. And YHVH passed in front of Moses, proclaiming, 'YHVH, YHVH, the compassionate and gracious God, slow to anger, abounding in love and faithfulness; Maintaining love to thousands, and forgiving wickedness, rebellion and sin. Yet he does not leave the guilty unpunished; he punishes the children and their children for the sin of the parents to the third and fourth generation.' Moses bowed to the ground at once and worshiped. 'Lord,' he said, 'if I have found favor in your eyes, then let the Lord go with us. Although this is a stiff-necked people, forgive our wickedness and our sin, and take us as your inheritance.'" (Exodus 34: 4-10).

"On Yom Kippur, when Malchut rises up and enclothes Binah, and when all faces shine-even the Face of the Nukva shines like the Face of Binah!"

"Yom Kippur is the secret of Ima [the Mother], the day in which Binah sets the prisoners free, who name that day, 'the first day' and asks Binah for water. It is either the beginning of 'Clouds of Glory' or of 'Living Water'..."


"Why on the tenth of the month? Rabbi Aba said: It is the time that the Jubilee, which is Binah, shines on the moon, which is Malchut. As is written in regard to the Jubilee, 'On the tenth day of this seventh month shall be Yom Kippur' (Vayikra 23:27). And Yom Kippur is… She therefore adorns the King, Zeir Anpin, the Son of Binah, with his crown, Mochin of Chassadim. We know that there is living water there, and we ask for water from the one who set us free, so She would give Chassadim to Zeir Anpin for us, after we attained Mochin of Chochmah from Her on Yom Kippur, the secret of freedom. We therefore name this day 'the first day'..."

"Yom HaKippurim... This means that the Female Principle receives the Upper three Sfiroth- Kether, Chochmah, and Binah- called the 'Face'."

"On Yom Kippur, when Malchut rises up and enclothes Binah, and when all Faces shine-even the Face of the Nukva shines like the Face of Binah!"

The "Nukva" is the Spiritual Beloved of the Human Soul, or Tiferet, in every Being.

In the Zohar, the Nukva is called Moses' Bride ("Kalah"), Moses who is the prototypical incarnation of "Zeir Anpin".

Luis v. Beethoven was aware of "The Mission of Moses"... and the evidence is the Prayer to the Divine Mother Kundalini Isis-Minerva-Neith, the Goddess of Wisdom and Justice, whose Prayer he kept constantly before him on his writing desk... Luis V. Beethoven took the Prayer from the Essay "The Mission of Moses" by Friedrich Schiller (1759-1805).

- V -
Beethoven "Bacchus Incarnate"

"Music is a higher revelation than all wisdom and philosophy, it is the wine of a new procreation, and I am Bacchus who presses out this glorious wine for men and makes them drunk with the spirit." "Ludwig van Beethoven, quoted in Marion M Scott, Beethoven (1934)".

"Music is the one incorporeal entrance into the higher world of Knowledge [Gnosis] which comprehends mankind but which mankind cannot comprehend."·"-- Ludwig van Beethoven, quoted by Bettina von Arnin, letter to Goethe, 1810".

In reference to the Seventh Symphony, Beethoven once referred to himself saying:

"I am Bacchus incarnate, to give humanity wine [of Music] to drown its sorrow ... [Each person] who divines the secret of my music is delivered from the misery that haunts the world." ("LUDWIG VAN BEETHOVEN, Symphony No. 7 in A Major, Op. 92").

In a sculpture representing Beethoven, there is a text engraved on its base that reads:

"I am Bacchus who presses out the delicious nectar for men."
One writer has described the Finale (Allegro con brio) of Beethoven's Seventh Symphony as:

"... 'a triumph of… Bacchus'. This movement is filled with good humour and incessant energy..."

The "Vivace", the "Scherzo" and "Finale" of Beethoven's "Symphony No. 7" are called:

"a sort of Bacchus' Triumph".

The work "Beethoven His Spiritual Development" reads:

"On May 28, 1810, Elizabeth Brentano, a young woman who is described as having been beautiful, highly cultured and fascinating, wrote a letter to Goethe describing her meeting with Beethoven. In the course of this letter she professes to report a conversation with Beethoven and attributes to him the following remarks: "When I open my eyes I must sigh, for what I see is contrary to my religion, and I must despise the world which does not know that music is a higher revelation than all wisdom and philosophy, the wine which inspires one to new generative processes, and I am the Bacchus who presses out this glorious wine for mankind and makes them spiritually drunken."

"When they are again become sober they have drawn from the sea all that they brought with them, all that they can bring with them to dry land. I have not a single friend, I must live alone. But well I know that God is nearer to me than to other artists; I associate with Him without fear; I have always recognized and understood Him... Those who understand it [my music] must be freed by it from all the miseries which the others drag about with themselves."

"Music, verily, is the mediator between intellectual and sensuous life."

"Speak to Goethe about me. Tell him to hear my symphonies and he will say that I am right in saying that music is the one incorporeal entrance into the higher world of knowledge which comprehends mankind, but which mankind cannot comprehend."
With the words "all that they can bring with them to dry land...", Beethoven evokes the crossing on "dry land" in the midst of the "red sea" of the People of Israel led by the Prophet Moses, or Bacchus incarnate, into the Sinai Desert.

Beethoven was working on his "Tenth Symphony" that he did not manage to complete. In a sketch he made, Beethoven was including a "Bacchic Festival", that is to say, a Festival relating to the God Bacchus, to the spiritual drunkenness with the sublime wine of Music. I transcribe the following texts in English, referring to the sketches of the "Tenth Symphony" wherein Beethoven refers to the God Bacchus:

"A memorandum on the subject of the Tenth Symphony appears in the sketch-books of the latter part of the year 1818. It is as follows: "The orchestra (violins, etc.) to be increased tenfold, for the last movements, the voices to enter one by one. Or the Adagio to be in some manner repeated in the last movements. In the Allegro, a Bacchic festival." ("Beethoven, by George Alexander Fischer").

When L.V. Beethoven said, "I am Bacchus who presses out this glorious wine for men and makes them drunk with the spirit....", "I am Bacchus incarnate, to give humanity [the] wine [of Music] to drown its sorrow...", "... I am the Bacchus who presses out this glorious wine for mankind and makes them spiritually drunken... When they are again become sober they have drawn from the sea all that they brought with them, all that they can bring with them to dry land...", he was actually saying that he was the person or physical vehicle of the "Bodhisattva" of the God Iao, Bacchus, Osiris and that like Bacchus or Moses, he brings men out of the red "sea" of passions to lead them along the "dry land" Path ... the "Dry Way" of Alchemy in the Initiatic Desert of existence... by the sublime and pure Bacchic drunkenness of his Divine Music...

"Music is the one incorporeal entrance into the higher world of knowledge", and this "Knowledge" or "Gnosis" is the Science of Alchemy called "The Art of Music":

"... It isn't rare to find alchemy characterized as the Art of Music in medieval texts. This name is the motif of the effigy of the two musicians who can be noticed among the balasters completing the upper story of the Manor of the Salamander at Lisieux. We have also seen them reproduced on the house of Adam and Eve at Le Mans, and we can again find them in the Cathedral of Amiens (the kings-musicians of the high gallery), as well as in the dwelling of the counts of Champagne, commonly called house of the musicians in Reims. In the beautiful plates illustrating the Ampitheatrum Sapientiae Aeternae of Heinrich Khunrath (1610), there is one representing the interior of a sumptuous laboratory; in the middle of this laboratory there is a table covered with musical instruments and many musical scores. The Greek word […] (musikos) has for root […], (mythos), fable, apologue, allegory, which also means spirit, the hidden meaning of a tale." (From "The Dwellings of the Philosophers" by Fulcanelli).

Every true Alchemist is indeed a true "Musician" and owns his own Musical Instrument spiritually, even if he cannot read or write musical symbols, he indeed feels and understands intuitively the Message of the Works by the Great Masters of Music when he listens to them, feeding his soul with higher emotions.

It may be, for example, that some of the great Masters of classical Music, when they reincarnate many years later, are "illiterate" in music theory or merely apprentice musicians, but their artistic genius is working channeled into one or more other actions for the good of the Poor Suffering Humanity.

A similar case, in another variant, happened, for instance, with the Prophet Elijah's Soul reincarnated in John the Baptist, working many centuries later in the Italian Painter Raphael in whom "... the whole entity [of] Elijah-John" appeared again:

"I have often mentioned that the soul of Elijah-John appeared again in the painter Raphael. This is one of those facts that call attention to the metamorphoses of souls that take place under the impetus given by the Mystery of Golgotha. Because it was also necessary that in the post-Christian era such a soul should work in Raphael through the medium of a single personality; what in ancient times was so comprehensive and world encompassing now appears in such a different personality as that of Raphael. Can we not feel that the aura that hovered round Elijah-John is also present in Raphael? That in Raphael there were such similarities to these two others that we could even say that this element was too great to be able to enter into a single personality but hovered round it, so that the revelations received by this personality seemed like an illumination?" (Rudolf Steiner "Gospel of Mark").

Every man, every woman who becomes true Alchemist, that is, practitioner of "TheThree Factors", turns into real Musicians in God's sight, and they will be admitted by "Beethoven" into "The Temple of Music".

El Laboratorio de la Alquimia

"We all have to dig out our own musical instrument. Depending on the Instrument, so is the Hierarchy of the Being. The Instrument of the Angels is the Harp."
"The Instrument, the Harp, is your own Instrument, as everyone owns one." (Teachings by our Venerable Master Rabolú in whom the Prophet Elijah was reincarnated).

- VI -
- Beethoven's Piano -

Beethoven considered his Piano as an Altar upon which he placed with veneration "the most beautiful offerings" of the Musical compositions of His Spirit "to the divine Apollo", the God of Music.

Beethoven owned several pianos: Stein, Streicher, Walter, Erard, Broadwood and Graf.

In 1803 Beethoven bought a new Piano made by Erard Frères in Paris which he kept until 1824, remaining from that year onwards in his brother Johann's possession following Beethoven's gift. Years later his brother Johann gave it to the Kunsthistoriches Museum of Vienna, where it still remains.

In 1818 Beethoven received a new Piano as a gift from his British Friend Broadwood. Beethoven wrote to him the following Letter of appreciation:

Mon tres cher Ami Broadwood!

Jamais je n'eprouvais pas un grand Plaisir de ce que me causa votre Annonce de cette Piano, avec qui vous m'honorés de m'en faire présent; je regarderai comme un Autel, ou je deposerai les plus belles offrandes de mon esprit au divine Apollon. Aussitôt comme je recevrai votre Excellent Instrument, je vous enverrai d'en abord les Fruits de l'Inspiration des premiers moments, que j'y passerai, vous servir d'un souvenir de moi à vous mon très cher B., et je ne souhaits ce que, qu'ils soient dignes de votre Instrument.

Mon cher Monsieur et Ami recevès ma plus grande Consideration de votre Ami et très humble serviteur

Louis van Beethoven.
Vienne le 3me du mois Fevrier, 1818.

Translation made by Esteemed Friends and Brothers of our dear Community:

My very dear Friend Broadwood!

I have never felt a greater Pleasure than in your honour's Notification of the arrival of this Piano, with which you are honouring me as a present; I shall look upon it as an Altar upon which I shall place the most beautiful offerings of my spirit to the divine Apollo. As soon as I receive your Excellent Instrument, I shall immediately send you the Fruits of the first moments of Inspiration I spend at it, as a souvenir for you from me, my very dear B.; and I hope that they will be worthy of your Instrument.
My dear Sir and Friend, accept my warmest Consideration, from your Friend and very humble servant,
Louis van Beethoven.
Vienna, February 3, 1818.

Prior to his Piano "Erard", Beethoven composed and performed his first Works for Pianoforte on other pianos, and about one of them, according to the book "Beethoven's Immortal Beloved Countess Brunsvik's Secret and her Memoirs" written by "La Mara", or "Ida Maria Lipsius", Therese von Brunswick (Josephine's sister) says:

"During the extraordinary sojourn of 18 days in Vienna my mother desired that her two daughters, Therese and Josephine, receive Beethoven's invaluable instruction in music. Adalbert Rosti, a schoolmate of my brother's, assured us that Beethoven would not be persuaded to accept a mere invitation; but that if Her Excellency were willing to climb the three flights of stairs of the house in St. Peter's Place, and make him a visit, he would vouch for a successful outcome of the mission. – It was done."

"Like a schoolgirl, with Beethoven's Sonatas for violin and violoncello and Pianoforte under my arm, we entered. The immortal, dear Louis van Beethoven was very friendly and as polite as he could be. After a few phrases de part et d'autre, he sat me down at his pianoforte, which was out of tune, and I began at once to sing the violin and the 'cello parts and played right well. This delighted him so much that he promised to come every day to the hotel zum Erzherzog Carl [Archduke Carl] — then zum Goldenen Greifen [The Golden Gryphon]. It was May in the last year of the last century [1799-1800]." (Translation from German to Spanish by Esteemed Friends and Brothers of our dear Community).

From 1818 onwards, Beethoven received the new Piano "Broadwood" from London, to which we referred earlier.

The last Piano was a "Graf" from Vienna that Beethoven received in 1826.

- VII -

"O Lord that lovest laurel, Bacchus, … Apollo of the excellent lyre." ("Vestiges of the Spirit-History of Man", by Samuel Fales Dunlap. 1858).

"… Apollo and Bacchus are the same God. — Macrobio, p. 299, ed. bipont.; see Sophokles, Antigone, 1126, and Euripides, Phoenissae, 227, 228." ("The Ghebers of Hebron", by Samuel Fales Dunlap. 1894.)

"The Austrians have now learned that the spirit of Apollo wakes afresh in the Imperial House..." ("Beethoven, To the Archiduke Rudolph. Modling, July 29, 1819." "Beethoven's Letters" Vol II. From the Collection of Dr. Ludwig Nohl.)

The following paragraphs in English that have been taken from ancient works identify Apollo, the God of Music, with the God Bacchus, Iao, Helios, Zeus, Saturn, Kronos and Osiris:

"The Phoenicians and Syrians call Saturn (Kronos) El and Bel..." "Movers, i. ch. 8; 256. Damascius in Photius, 343."

"Physicians have called Bacchus the Mind of Zeus (God) because they said the Sun was the Mind of the world. But the 'World' is called Heaven, which they name Jupiter."—Macrobius, 301.

"Orpheus manifestly pronounces the Sun to be Bacchus in this verse: 'Helios whom they call by the appellation Bacchus.'
And indeed this is a more positive verse; but that of the same poet is more effective:
'One is Zeus, One is Hades, One is Helios, One Bacchus'..."

"... Iao is the physical and Spiritual Life-principle. Iao is the Spiritual Light ... Bacchus is the generative and nutritive 'Spirit.' 'Iao is Bacchus.' Iao is the sun-god. Bacchus is Bel the Younger. Damascius calls Iao Intelligible World (...)"

[Bacchus] Leader of the Choir of Flame-breathing Stars, Director of the voices that sound by night. Youthful god, Son of Jove! [*] — Sophocles, Antigone, 1149.

Euripides, in Licymnius, signifying that Apollo and Bacchus are one and the same god, writes:

O Lord that lovest laurel, Bacchus, Paian, Apollo of the excellent lyre.

"... Ihoh, Iahoh (...) is the name of the sun-god Dionysus or Bacchus."

"Iao (Iah) was a mysterious name of Bacchus. Iao is the 'Light that only the mind can perceive,' 'the physical and Spiritual Light and Life-Principle.' 'Iao is the Sun,' the Spirit of the sun, the Celestial Sun, Helios Noetos. Zagreus was invoked as the Highest of all the gods."

Say that the Highest God of all (gods) is Iao!

Oracle of Apollo Clarius.

(Iachoh, according to Movers, p. 548) is Iacchos (Bacchus).

("Vestiges of the Spirit-History of Man", by Samuel Fales Dunlap. 1858.)

* [Bacchos or Bacchus is Moses. In the Books of the Zohar, Moses is identified with Metraton Sar haPanim ("the Prince of the Countenances").]

[In the Books of Enoch, Enoch-Metraton is called the youngest of the Sons of God.]

[Enoch-Metatron is the leader of the Heavenly Choirs, the Celestial Choirmaster and the Director and Priest of the Heavenly Liturgy (or the Mass and Rituals); He is called "the Youth" and, as a Divine Celestial Being, He is therefore "young God" and "Son of God", which obviously identifies him with Bacchus.]

"... Apollo and Bacchus are the same God.—Macrobius, p. 299, ed. bipont.; see Sophokles, Antigone, 1126, and Euripides, Phoenissae, 227, 228."

"Bacchus-Osiris-Adonis is the life-giving Water..."
(The Ghebers of Hebron by Samuel Fales Dunlap. 1894.)

- VIII -
and The Goddess Minerva

In a reply to a letter that a person wrote to him arrogantly, Beethoven, admonishing him very strongly to correct himself, wrote:

"This would be more to the purpose than to try to teach me, which is as if a sow were to try to give lessons to Minerva, which is exactly the same..."

- IX -
"Has Beethoven quickened
his time or ours?"

"("Has Beethoven quickened his time or ours? His own time did not understand him. Christ, sans comparaison": i.e., "without comparison being intended "). (Therese [Brunswik]'s Journal in the last years: cf. La Mara: Beethoven und die Brunsviks, p. 93,)"

[Teresa Brunswik was L.v. Beethoven's piano student and Josephine ("Pepi") Brunswik's sister].

- X -
Yao: Y-ha-ho in "The Mission of Moses" by Friedrich Schiller and Beethoven

In his "Essay" titled "The Mission of Moses", Friedrich Schiller "the Poet of Freedom", whose poetic inspiration of his Ode to Freedom in turn inspired the Great Musician-Poet L. v. Beethoven in his magnificent and sublime "Ninth Symphony", referring to the "Supreme Cause of all things, a first power of nature, the Being of all beings", the Iao of Moses, says:

"Under an old statue of Isis the following inscription was read: "I am what is," and upon a pyramid in Sais, the following ancient and most remarkable inscription is found: "I am who is, was, and will be; no mortal man has lifted my vail." No one was permitted to enter the Temple of Serapis, who did not wear upon his breast or forehead the name Iao or Joha-ho, a name that has almost the same sound and probably the same meaning as the Hebrew [YHVH]; and no name was pronounced with more respect in Egypt than this name Iao. In the hymn which the hierophant or President of the Sanctuary sang to the candidate, the following preliminary explanation was given concerning the nature of the deity: "He is Alone and of Himself, and to this Only One all things owe their existence." [...] "He [Moses] makes his Iao the God of their fathers..." (From "The Mission of Moses" by Friedrich Schiller).

L.V. Beethoven, kept these same words of the Goddess Isis cited by Schiller in "Die Sendung Moses" ("The Mission of Moses") constantly before him on his writing desk, written in his own handwriting and framed under glass, like a relic and a great treasure before his eyes:

Beethoven y la Madre Divina Isis-Minerva-Neith

"I am what is."

"I am who is, was, and will be. No mortal man has lifted my vail"

"He is Alone and of Himself, and to this Only One all things owe their existence".

Beethoven's "Religiosity" can be expressed in the previous words of the Goddess Isis-Minerva-Neith, to whom no mortal man has lifted the Veil, taken from the Temple of Sais in Egypt and quoted by Schiller in "The Mission of Moses"... and written in his own handwriting, and it should have been so, considering the constant veneration that he gave to those Sacred Words...

It means that Beethoven was aware of Schiller´s Essay "Die Sendung Moses", or "The Mission of Moses"... And from this work he took the words that he wrote, framed, and kept constantly before him as before a Holy Altar.

"The Hebrew Mysteries or the oldest religious Freemasonry" by "Carl Leonhard Reinhold" ("Br. Decius") is one of the sources that inspired the "Poet of Freedom", "Friedrich Schiller" (1759-1805), to write his Essay "The Mission of Moses":

"Schiller himself reported that one of the major sources for this essay ["The Mission of Moses"] was Br. Decius's work, "The Hebrew Mysteries, or the oldest Religious Freemasonry" (Leipzig 1788)."

Likewise, Luis van Beethoven took the texts devoted to his Divine Mother Kundalini, the Goddess Isis-Minerva-Neith (the true Source and Deity of His Religion), written in his own handwriting, constantly kept before him on his writing desk, from both the sources written by "Brother Decius", or Karl Leonhard Reinhold, and Friedrich Schiller... Beethoven, having read the book by "Brother Decius'" ["The Hebrew Mysteries..."] before mentioned, was also aware that "Bacchus" (I.A.O., Y-ha-ho, "Iacchos", "Yaacov", or "Jacob") is the same as Osiris and Moses, or Musaeus, the Master of Orpheus...), and the "Immortal Beethoven" lifted a little "The Veil of Isis" about it, when he declared: "I am Bacchus incarnate..."

- XI -
Osiris Bacchus Moses

"In the book of life it is written with burning coals that, during the Golden Age of Latium and Liguria, the Divine King Janus, or Saturn, (IAO, BACCHUS, JEHOVAH), wisely reigned over those holy people, all Aryan tribes, although from very different ages and origins." (From "El Parsifal Develado [The Parsifal Unveiled]" by our V.M. Samael Aun Weor).

IAO, BACCHUS, OR YHVH (YOD-HEVE) is, in one meaning, our individual particular Father-Mother, or Osiris-Isis, within each one of us.

In another meaning, IAO is the God BACCHUS, OSIRIS-ISIS.
The name "Jehovah" is a much later pronunciation of God's Holy Name Y-H-V-H (IEVE: I-A-O.)

"… "Iao is our Jehovah." ... if the Christians are so anxious to prove the identity, the occultists have nothing against it. Only, in such case, Jehovah is also Bacchus." (H.P. Blavatsky).

"… the place where Osiris, the Egyptian Zagreus or Bacchus, was born, was Mount Sinai, which is called by the Egyptians Mount Nissa. The brazen serpent was a nis (.....), and the month of the Jewish Passover is Nisan." (H.P. Blavatsky).

"... the Egyptians themselves confessed that Science flourished in their country only since Isis-Osiris, whom they continue to adore as gods, "though they had become Princes in human form." And he adds of Osiris-Isis (the divine androgyne):-"It is said that this Prince (Isis-Osiris) built cities in Egypt, stopped the overflowing of the Nile; invented agriculture, the use of the vine, music, astronomy, and geometry."" (H.P. Blavatsky).

"... But "Isis-Osiris" reigned in Egypt before the Dendera Zodiac was painted on the ceiling of that temple, and that is over 75,000 years ago!" (H.P. Blavatsky).

"... Osiris is a great God, and at the same time a "prince on Earth," who reappears in Thoth-Hermes,…" (H.P. Blavatsky).
In his book "Isis and Osiris", Plutarch says that Osiris and Bacchus are one and the same:

"Now that Osiris is really the same with Bacchus, nobody can be supposed to know better than you, O Clea, not only as you are chief of his priestesses at Delphi, but moreover as you are Initiated, in right of both your parents, into the service and religion of Osiris..."

Beethoven knew and studied Plutarch's works.

Plutarch was one of the classical writers who accompanied Beethoven throughout his lifetime:

"... PLUTARCH HAS SHOWN ME THE PATH OF RESIGNATION..." ("Beethoven, Letter to Franz Gerhard Wegeler, Vienna, June 29, 1800".)

In "The Origin of All Religious Worship" Dupuis, quoting several ancient authors, reaffirms the identity of Bacchus with Osiris and with this same Divinity under other names:

"Herodotus, who was considered ... as the father of history, ... traveling in Egypt... assures us, that the Osiris of the Egyptians is the same divinity as that, which the Greeks adored under the name of Bacchus..." [...].

"… It is established the perfect similarity that existed between the religious ceremonies of the cult of Osiris and Isis in Egypt and those of Bacchus and Ceres in Greece in order to find no other difference than the names. The consecration of the Phallus in the Mysteries of Osiris and Bacchus is based on all the evidences (Diod. i. 4, c. 147, p. 247.)…" [...].

In an ancient work titled "A Catechism of Mythology", we find a collection of ancient traditions from "Many learned men" which tell that Bacchus, Osiris, and Moses, are the same; and also that Moses "was the real prototype of Bacchus, (the Egyptian Osiris)...":

"Obs. 2.—Herodotus, Plutarch, and Diodorus Siculus, relate that Bacchus, born in Egypt, was educated in Nisa, a city of Arabia Felix, to which place his father Ammon had sent him. They recognized in the Bacchus adopted by the Greeks, the famous Osiris, who conquered India." ("A Catechism of Mythology; by William Darlington", "1832").

"Obs. 3.—Many learned men believe, that the poets have represented Moses in their Bacchus. [...]" ("A Catechism of Mythology; by William Darlington", "1832").

"Obs. 4.— [...] the fable of Bacchus is nothing more than an [...] tradition of the history of Moses, [...] In conclusion, [...] the great Hebrew lawgiver Moses, who was very celebrated in Egypt, was the real prototype of Bacchus, (the Egyptian Osiris,)..." ("A Catechism of Mythology; by William Darlington", "1832").


"Osiris appears to have been the Moses of the Jews, and the Bacchus of the Greeks..." ("A Catechism of Mythology; by William Darlington", "1832").

In "The Hebrew Mysteries or the oldest religious Freemasonry", by "Carl Leonhard Reinhold" ("Br. Decius"), First Edition, Leipzig, 1788, its author attests to the identity of Moses, or Osiris-Bacchus, with the Poet of the Orphic Hymns Musaeus:

"... Moses would be more than an Initiate of the Mysteries; he would be, at least as it appears from his Deeds and Wonders, even one of the highest ranking subject of those Mysteries, and his History [would be] a fragment of the traditions which must have originated the Egyptian Secret Doctrine. Indeed, it seems at first sight, to a vision not sufficiently enlightened by Revelation, as if the biblical accounts of the person and the events in the life of Moses were a gathering of scattered informations that we find on the mystical Person of Osiris, or the Egyptian Bacchus, in the historical and mythological fragments that remained from Antiquity. This Osiris, who is likewise referred to as Moses in the Orphic hymns, as Mysi in Auson [*1] [Decimius Magnus Ausonius (ca. 310–395) Latin Poet] and as Musäus [Musaeus] [*2] in Artapanus, does not seem to be significantly different from our Moses or Moyses even according to his name- he was notoriously rescued in his childhood as the Hebrew Leader and later, like this Benefactor, he was also Lawgiver and Guided his people. Like him, he praised the intimacy of the relationship with a Divinity and, along with an almost equally large crowd, he crossed the Red Sea dry-shod. He too was given a miraculous rod with which he forced the rivers Orontes and Hydaspes to flow back before his people and which he could transform into a snake at will. Finally, he did not even lack the Golden Horn, or the Rays of Light, on his Forehead with which Moses returned from Sinai." (From the book "Die Hebräischen Mysterien oder die älteste religiöse Freymaurerey", "Leipzig", "1788", ("The Hebrew Mysteries or the oldest religious Freemasonry"), by "Karl Leonhard Reinhold" (1757-1823), direct translation from German kindly made by our esteemed Friends and Brothers Manuel Coello Arias and his Wife Mrs. María Antonia Manzanares Manzanares.)

[*1] AUSONIUS XLVIII. Mixobarbaron Liberi Patris Signo Marmoreo in Villa nostra omnium Deorum Argumenta habenti

Ogygidae me Bacchum vocant,

Osirin Aegypti putant,

Mysi Phanacen nominant,

Dionyson Indi existimant,

Romana sacra Liberum,

Arabica gens Adoneum,

Lucaniacus Pantheum.
(XLVIII. An outlandish Medley to a marble Statue of Liber Pater in my Country House, having the Attributes of various Gods

The sons of Ogyges call me Bacchus,

Egyptians think me Osiris,
Mysians name me Phanaces

Indians regard me as Dionysus,

Roman rites make me Liber,

the Arab race thinks me Adoneus,

Lucaniacus the Universal God.)

[*2] Musaeus: "Artapanus of Alexandria [a Jewish author of the second century before our Christian era] explicitly identifies [the Prophet] Moses not only with Thoth-Hermes, but also with the Greek figure Musaeus (whom they call "the Teacher of Orpheus"), and ascribed to him the division of Egypt into 36 districts, each with its own liturgy..." "… refers to Moses as Musaeus, the Teacher of Orpheus, recalling Artapanus's statement [second century B.C.E.] (quoted in Eusebius, Praeparatio Evangelica 9.27.3-4)..."

"The fathers of the Church were persuaded that Orpheus was the disciple of Moses..."

"Jewish Gnostics responded to Hellenism by claiming that Moses has been the same person as Musaeus [Museo], accordingly, Orpheus was a disciple of the former Prophet [Moses]..."

Luis van Beethoven knew the ancient Egyptian Mysteries of our Divine Mother Kundalini Isis-Minerva-Neith and of Osiris-Bacchus, IAO, Iacchus, Yaacov or Moses from "The Hebrew Mysteries or the oldest religious Freemasonry".

In his "Diccionario de Mitología Universal [Dictionary of Universal Mythology]" J.F.M. Noël says that:

"IACCHUS" is "Another name for Bacchus".

This same writer, referring to another similarity of his name "IACCHOS", also says:

"IACCHOS. God that mystically presided over the procession of the Initiates in the Eleusinian mysteries. Son of Proserpine and Jupiter, he would be no other than the reincarnation of Zagreus [Bacchus]... According to tradition, Minerva herself nursed him..."

"Iacchus" (Bacchus or Bacchos) is the Latin name corresponding to the name of the God "Iakchos", "Iakkhos" or "Iacchos" (Ιακχος) in Greek "Iacchus again is Iao…, like Bacchus,..." (H.P. Blavatsky, "The Secret Doctrine").

"... the patriarch Jacob (Iao, Bacchus) when resting his head on the Petera [on the "mystical Ladder that he saw in an initiation dream"] or «Stone of Initiation», saw men ascending on one side and angels descending on the other!..." ("El Simbolismo de las Religiones [Symbolism of Religions]","Chapter VIII", by Mario Roso de Luna.)

- XII -
Iao = Bacchus

Some of the titles of Bacchus are the following:

Iobakkhos, Iakkhos, Agathos Daimon, Zagreus, Zabazios (in Greek), Iobacchus, Iacchus, Agathus Daemon, Zagreus, Zabazius (in Latin).

"... as in everything else, truth was at last brought to light. We know now that Ihoh (...) must be read Iahoh and Iah, not Jehovah. Iah of the Hebrews is plainly the Iacchos (Bacchus) of the Mysteries; the God "from whom the liberation of souls was expected — Dionysus, Iacchos, Iahoh, Iah."..."

"... The Jews worshipped ... Bacchus-Osiris, Dio-Nysos, and the multiform Joves of Nyssa, the Sinai of Moses..." (H.P. Blavatsky).


"... we find IAO expressly recognised as the title of the Supreme God..."

"In this very title IAO undoubtedly lies the origin of the universal persuasion of the ancients that the YHVH of the Jews -whose Name was thus expressed in Greek letters- was no other than the Egyptian Bacchus..." ("The Gnostics and Their Remains", "The Name IAO", by Charles William King [1887]).


"... if evidence sufficiently clear could be adduced that the "Lord God" was no other than the Pagan Bacchus, Dionysos? ... The name ... Iao, according to Theodoret, which is the secret name of the Phœnician Mystery-god;* and it was actually adopted from the Chaldeans with whom it also was the secret name of the creator." (H.P. Blavatsky, "Isis Unveiled", Volume II.)

Beethoven Worshipped and Loved the Goddess Isis-Minerva-Neith, his Divine Mother Kundalini, his own inner divine particular Being who Is "I am who Is, Was, and will Be"... And "He" who "is Alone and of Himself", the Father, and to whom "all things owe their existence"... And both the Mother and the Father are "One" (Ejad), "Only One"... IAO...

HE IS the Father-Mother Thoth-Minerva... He Is the Father of the Fathers of all the Gods... So it is written in an ancient papyrus:

"Thou art Thoth, Thou art he that came forth from the heart of the great Agathodaemon, the Father of the Fathers of all the Gods..." (Demotic Magical Papyrus of London-Leiden, Column II).

Isis Minerva Neith, to whom no mortal has lifted the Veil, is the Divine Mother of His Son, the Divine Hierarch of the Law of God Anubis:

"... Isis, my mother, sat before me, saying to me, "Do not weep my child, King's son, eldest and first, Anubis,... thy tongue is the tongue of the Agathodaemon, thy tongue is that of Atum..." (Demotic Magical Papyrus of London-Leiden, Column XX).


"He is Moses, the Moshe of the Hebrews, the Pan of the Arcadians, the Priapus of the Hellespont, the Anubis of the Egyptians".

So wrote the French Painter Nicolas Poussin (Villers, France, 1594 - Rome, 1665) of his Work "The Finding of Moses 1651".

Beethoven´s "joke" when he said about the String Quartet No. 14, Opus 131, that it "Was gathered together from various things here and there"; even if "... wholly and rigorously new", it is similar to what is written in "The Hebrew Mysteries or the oldest religious Freemasonry" about "the biblical accounts of the person and the events in the life of Moses" as if they "were a gathering of scattered informations that we find on the mystical Person of Osiris, or the Egyptian Bacchus..."

- XIII -

"... For many centuries the Oriental fables attributed to Bacchus all that the Jews had said of Moses. Some learned writers, such as Vossius, M. Huet and father Tomassin, have highlighted curious points of similarity between Bacchus and the renowned legislator of the Jewish people:

1) Bacchus was born in Egypt and had two mothers: the nymph Semele and his own father Jupiter, who rescued the child from his mother's womb after she was killed by a lightning, shutting him up in his thigh until the time of his birth. Moses was born in Egypt and also had two mothers, one who gave him birth and another who adopted him.

2) Bacchus was found exposed on the island of Naxos. This circumstance earned him the nickname Myfas which means, "saved from the waters". Moses was abandoned on the banks of the Nile and for being saved from the waters, he was called Moses, from mo, which in Egyptian means "water", and yses, "saved".

3) Bacchus crossed the Red Sea with an army composed of men and women on their way to the conquest of the Indies. Moses also crossed that sea with a host likewise composed of men and women on their way to the Promised land.

4) Like Moses, Bacchus changed the waters into blood.

5) The fable represents the god Bacchus with horns and holding in his hand a terrible thyrsus. Two rays of light shone on the forehead of Moses, and he carried a miraculous rod in his hand.

6) Bacchus was brought up on a mount called Nisa. Moses spent forty days on mount Sinai, which seems to be an anagram for Nisa.

7) Bacchus took revenge on Pentheus, king of Thebes, who opposed the introduction of the cult of this god in his kingdom. Moses punished Pharaoh for not letting God's people go to celebrate sacrifices; and finally, Bacchus planted the vineyard in various places, and in the time of Moses, the explorers whom he sent to the land of Canaan returned with a huge bunch of grapes carried on a pole by two men. (Connaissance de la Mythologie [Knowledge of Mythology], Lyon, 1817, page 83). (G.T. [Theosophical Glossary, Spanish Edition] H.P.B.)

- XIV -
Beethoven, or "Jacob Incarnate", and the Tikkun of Leah and Rachel

"Leah" and "Rachel" could never be absent from any Christified Master's Life and Work.

This is confirmed by the Esoteric Tradition:

Jacob-Israel and his two Wives Rachel and Leah.

The Prophet Moses married Zipporah and the Shekinah.

Mary and Martha who represented Rachel and Leah in our Lord Jesus The Christ's Saving Work and Mission. The same for Clare of Assisi and Jacoba of Settesoli with St. Francis of Assisi, and Beatrice and Matelda with Dante Alighieri.

Luis van Beethoven had his Spiritual Rachel and Leah as well, all the more so considering that Beethoven called himself "Bacchus incarnate", which is the same as saying "Jacob incarnate".

Luis van Beethoven, recognizing himself as "Bacchus incarnate", identifies himself as an incarnation of the "Prototype of Bacchus" or Jacob, who is Moses; that is to say, as the Real Being of the Prophet Moses, the God Thoth, the Creator of Music.

In one of the fragments of an ancient work called "The Prayer of Joseph", Jacob is identified with the angel Uriel who is the God and Genius of Music:

"When I was coming from Mesopotamia of Syria, Uriel, the angel of God, came forth, and said, I have come down to the earth and made my dwelling among men, and I am called Jacob by name." ("The Prayer of Joseph", "Commentary on the Gospel of John - Book II, Origenes.").

Master Blavatsky says that "... the scintilla of Jacob was taken from Uriel, named "the fire of God"...", which confirms the identity between Jacob and Uriel in "The Prayer of Joseph".

The Angel Uriel is the Genius or Logos of Planet Venus, whose Heaven is the World of Will, the Causal World, where there is the Temple of Music whose Guardian is the Master who was called Beethoven.

Beethoven's Eternally Beloved is also Jacob's Spiritual Beloved in her two aspects of Leah and Rachel: "Leah" is the Higher Shekinah. "Rachel" is the Lower Shekinah.

In his Life and Work Beethoven idealized Leah and Rachel in his Eternally Spiritual Beloved.

A Beethoven's musical composition was recently discovered, being inspired by the Gregorian Chant known as "Pange Lingua", and whose lyrics ascribed to St. Thomas Aquinas, translated into English, are the following:

"Sing, my tongue,
the Mystery of the glorious body
and of the precious blood
which the King of nations,
the Fruit of the generous womb,
Shed as price for the world.
The One given to us,
born to us from the untouched Virgin;
and who lived in the world,
the seed of the word having been spread,
The time of his dwelling he closed
In an admirable order.
On the night of the Last Supper,
Reclining with his brethren,
With The law having been fully observed
in foods according to the law,
he gave himself with his own hand
As food to the twelve.
The Word-made-Flesh makes,
by his word, true bread flesh,
and the pure wine becomes the blood of Christ.
And if perception falls short,
for the strengthening of the sincere heart
Faith alone suffices.
Therefore, such a great Sacrament
let us Venerate with Bowed heads;
and let the ancient teaching give way
to the new rite; let faith supplement
The incapacity of the senses.
To the Begetter and to the Begotten praise and jubilation,
Salvation, honour, and power and also benediction let there be;
to the One proceeding from both let there be an equal praising.

The Gregorian Chant "Pange Lingua", or "Sing my Tongue", is considered the quintessential Hymn of Transubstantiation.

It is traditionally said that the Hymn (or Hymns, according to other translations) that Jesus sang with the Apostles after the celebration of the Last Supper, in the Eucharist, is one or several Psalms, one of which is Psalm 116 and, very especially, the verse 13 that reads:

"I will Take the Cup [Vessel or Chalice] of salvation, And call upon the name of YHVH.".

The "Septuagint" reads:

"A cup of deliverance I will take...".

Our Lord Jesus The Christ, the Absolute Heavenly Father's Only Begotten Son, was a Holy Rabbi of the Tribe of Judah, He studied the wisdom of the Initiates from Rabbi Hillel's, or Hilel's, school (who according to the Zohar, embodied the attribute of Mercy, or "Chesed"- and, according to Isaac Luria, of humility, and whose rule for the recitation of the "Shema Yisrael" is accepted by the Rabbis of the Zohar), and He knew the Torah with such Wisdom that the most learned Rabbis who knew and heard him were amazed and admired: "... the wise men of Naim, the most learned and pure of this earth, found in his words hidden treasures of Hillel, and the beauties of the Talmud."

The Last Supper had the elements of the Passover Meal in whose celebration the hymns from the book of Psalms called "Hallel" or "Halel" (Hymn of Praise) were sung.

The Babylonian Talmud ("Babylonian Talmud: Tractate Berakoth", "51a") mentions the Cup of Blessing that must be filled up with undiluted Wine (as it signifies Binah, the Higher Shekinah, or the "Barrel" whence the undiluted Wine of the Torah comes) and that is taken in both hands and then raised with the right hand only, during the blessing after the Meal. And he who says the blessing must fix his eyes on the Cup. He who says the blessings (who "has to be full of the Wine of the Torah", "a plain" "complete" "perfect" "Man") makes his disciples sit around him... Here is a reflection on the Purity of the true Chastity in thoughts, feelings and actions, that the "Host" performing the Sacrament of Transubstantiation must have.

As the Letter "H" (Hei), says the Zohar, "is the Cup", namely, "Binah", "and it is crowned with pupils", and the "Host", who is "Chochmah" (THE CHRIST), makes them sit around him... As it happened with our Lord Jesus The Christ and His Apostles.

"It is written concerning him who takes the Cup and recites the Benediction: 'I lift up the cup of salvations and call upon the name of the Lord'..." (Psalm 116: 13). (The Zohar).

The "Babylonian Talmud" ("Babylonian Talmud: Tractate Berakoth", "51b") concerning what is written in Psalm 116: 13: "I will lift up the cup of Salvation and invoke the Name of YHVH upon it", having explained that he who says the Blessing must fix his eyes on it, says that He sends the Cup "round to the members of his household: so that his wife may be blessed..."

Our Lord Jesus The Christ "took the cup, and gave thanks, and gave it to them, saying, Drink ye all of It;...". That is, Jesus sent the Cup or Vessel "round to the members of his household", to his Disciples, "so that his wife may be blessed...". For "... in the Lord, neither is the man without the woman, nor the woman without the man;..." (1 Corinthians 11: 12).

In an esoteric key it is the "tikkun", or restoration, performed by the Inner Christ within an Initiate who has incarnated Him, of the People of the Inner Israel, represented by the Twelve Apostles, and of the Two Temples (Leah and Rachel), by giving them the Spiritual food of the Bread and Wine of Transubstantiation, as the intimate inner Christ feeds each and every Part of the Being with the Bread and Wine of Transubstantiation.

In another key, it means that Jesus, who had taught His Disciples the Mystery of the Arcane, was also inviting each one of them to continue practicing it at home, or in their house, with their own Wife, "Cup" or "Vessel".

"The Vessel" here physically refers to the Woman, to the Wife; specifically, to the "Feminine Yoni", the Wife's "Uterus", "the female generative organ".

"The Red Christ drinks from the Holy Grail at the supreme hour of Christification, so it is written in the Lord's Gospel…", we are taught by our Venerable and Beloved Master Samael Aun Weor.

Spiritually, "the Vessel" refers to the Shekinah in her Two Aspects of "Binah" ("Leah") and "Malchut" (Rachel).

The Zohar, explaining "the secret of the cup", quotes the following verse from the Book of Deuteronomy: "And full with the blessing of YHVH" (Deuteronomy 33: 23). And it explains that "the numerical value of the cup" is equivalent to the numerical value of the Name "Elohim", which is "Binah". It esoterically means that "Malchut", or the Lower Shekinah, who is "Rachel", "enclothes Binah" who is "Leah". That is to say, the Lower Shekinah or Rachel rises up and is included within Binah spiritually, esoterically, and the Two together form an indivisible unit:

"624) And according to the secret, it is the secret of the cup "full with the blessing of Hashem'' (Devarim, 33:23), for the numerical value of the word "cup" (Kos, kaf vav samech, 20 + 6 + 60 = 86) is the same as the word "G-d" (ELokim, ALef Lamed Hei Yud Mem, 1 + 30 + 5 + 10 + 40 = 86), which is Binah, namely Malchut enclothing in Binah (as shown below, paragraph 632). And from there comes the soul (Neshamah) that is named after it, "cup", as it is written: "I will raise the cup of salvation" (Tehilim, 116:13). What is the meaning of "salvation"? It is the five fingers that hold the cup, which correspond to five Sfirot: Chesed, Gvurah, Tiferet, Netzach, Hod, and Yesod, that are in the cup, which is the living G-d which is Binah, (*245b) that spreads through the five Sfirot to fifty gates, which are five times ten. That is, the letter yud (whose numerical value is ten) stands for the ten things that the Sages ordained for the cup, which is the living G-d, and the five (hei) letters of the word "G-d", (ELokim, ALef Lamed Hei Yud Mem), which are five in number, and ten times five comes to fifty gates. (Cf. Talmud Bavli, Rosh Hashanah 31b: Fifty gates of Binah were created in the world)." ("Parashat Pinchas", "Volume II", "624").

"632) (Regarding the instruction that) he who says the blessing must look at the cup of benediction (...), this is because this cup corresponds to the Land of Yisrael, which is Malchut enclothing Binah, about which it is said: "The eyes of Hashem your G-d are always upon it" (Devarim 11:12),..." ("Parashat Pinchas", "Volume II", "632").

"The Cup" is therefore "Malchut enclothing Binah", which "must be pure both within and without". Esoterically, it refers to the "tikkun", or purification and sanctification of the Soul in all levels, and to the restoration of Rachel and Leah.

At the Last Supper, Our Lord Jesus The Christ celebrated the Holy Eucharist of the Gnostic Anointing of Bread and Wine and drank the Wine of Transubstantiation in the Holy Grail, Sacrament sung in the Gregorian Chant "Pange Lingua" by which Beethoven was inspired to create his recently found musical composition that contains in a hidden language the Spiritual Restoration of Rachel and Leah...

"366.- And then is the hour sanctified, so that the Male and the Female, Man and Woman, Masculine and Feminine, are united, and the worlds all and several exist in love, peace and joy."

According to research, Beethoven's sketch of the Work inspired by the Gregorian Chant "Pange Lingua" (first published in 2010) is probably dated 1820..., it was possibly written for his "Missa Solemnis" created during those years.

Although at that time Beethoven also suffered from health, economic and family problems, these sufferings were lesser than the sufferings for his Beloved Josephine. The last Piano Sonatas were dedicated in his heart to Josephine.

In September 1816, a young woman whose name was "Fanny Giannatasio" overheard Beethoven telling her father in a conversation that about five years before (in the years close to the Letter to the "Immortal Beloved"), he had "known" the Woman that should have been the happiness of his life... The word "known" must not be understood in a literal sense, but in the sense of sexual union as when the Book of Genesis says that Adam "knew" his Wife Eve.

In the Love Letters that Luis van Beethoven wrote to the young and beautiful widow Josephine (who was married off to count Deym without love, forced by her mother who did not consider her Love feelings that she began to feel for Beethoven even before knowing him personally, and even more when she first saw him), between 1804 and 1809, Beethoven addresses Josephine using the formal "You" instead of the informal "You".

The mutual and reciprocal correspondence between Beethoven and Josephine was kept at least until autumn 1809.

Since the year 1811, Josephine's marriage with her second husband had been considered by her sister Therese "a dissolution":

42 "The disagreement between Jo[sephine] and St[ackelberg] – it was like a dissolution!" (Therese's Diary, March 21, 1811, in Tellenbach 1983, p. 93.)

43 "It is no wonder that their relationship last summer affected, confused and shocked me so much. The disagreement between Jo[sephine] and St[ackelberg] – it was like a dissolution!" it was the non–existence of the most beautiful feelings, a betrayal of the most beautiful expectations!" (Therese's Diary, March 21, 1811, in Tellenbach 1983, p. 93)

49 "We are no longer married." (Josephine's Diary, February/March/April 1812, in Tellenbach 1983, p. 108.)

In the Letters addressed to the Eternally Beloved written on July, 6 and 7, 1812 (some time after Josephine had sexually separated from her second husband definitively -having also been forced to marry him- and whom she never loved), Luis van Beethoven addresses her using the informal "You".

In the Letter that Beethoven wrote to Josephine [Vienna, Spring, 1805], he addresses Her in terms of formal:

"you ------ only you ------ eternally you –", as he had not "known" her yet. But in the Letter to the "Eternally Beloved" written on July, 6 and 7, 1812, he addresses Her, Josephine, in terms of informal "You", as he had already "known" her and they both, Josephine and Beethoven, were "one flesh''. The formal words "You... Only You..." would be then written informally: "You... Only You..."

Beethoven idealized his Spiritual Rachel and Leah in Josephine's Soul.

The Friendship between Beethoven and Josephine lasted throughout lifetime:

"It was then that the most intimate and cordial friendship was established with Beethoven, a friendship which lasted to the end of his life." (Therese's Memoirs, in La Mara 1909, p. 64.).

30"I was lucky to have been acquainted with Beethoven, personally and intellectually, for so many years! Josephine's house and heart friend! They were born for each other [,] and if they were still alive, they would be united." (Therese's Diary, March 1848, in Goldschmidt 1977, p. 296.)

On March 31, 1821, Josephine Von Brunswick, the Eternally Beloved of her Eternally Beloved Luis Van Beethoven, died... Her soul flew to the heights of the Starry Sky to be spiritually integrated with the Spiritual counterpart of his Beloved "L".

Sensing the departure of his Eternally Beloved Josephine, in the summer of 1820 Luis van Beethoven composed his last song (Lied) "Abendlied unterm gestirnten Himmel," WoO 150 ("Evensong under the Starry Sky"):

Evensong under the Starry Sky
Ludwig van Beethoven

WoO. 150
Lyrics: Heinrich Goeble; considered to be "the last completed song."

When the sun slowly goes down,
And the day tilts
to its rest,
(The) Moon beckons gently, kindly,
And night falls;
When the stars
A thousand sunbeams shimmer:
How great the soul then feels,
It shakes itself free from the dust.
It gazes gladly at those stars,
As if back to its native land,
It gazes at those distant lights,
And forgets all Earthly trifles;
It seeks only to struggle, it wants only to strive,
To cast off its veils:
(The) Earth is too small and confining for it,
It longs to be upon the stars.
Whether Earth's storms
False fortune rewards the evil:
In hope it gazes upwards,
To where the starry judge sits enthroned.
Fear can no longer
torment it,
No power can command it;
With a transfigured
It soars to the heavenly light.
A faint presentiment From those worlds makes me shudder;
My Earthly pilgrimage
will not last much longer,
Soon I shall have achieved
my goal,
Soon I shall have soared to you,
Soon I shall Reap at God's Throne
The glorious reward for my sorrows.

(Direct translation from German to Spanish kindly made by our esteemed Friends and Brothers Manuel Coello Arias and his Wife Mrs. María Antonia Manzanares Manzanares.)

In that same year (February 1820) Beethoven wrote in one of his "Conversation Books":

"The moral law within us, and the starry sky above us. Kant!!!" (Luis van Beethoven, "February 2, 1820, Conversation Book 7".)

In the years 1821-1822 Luis van Beethoven composed his last Sonatas for Piano: "Piano Sonata No. 31 in A-flat major, Op 110, Music of Amiability, Lament and Restoration"; and "Piano Sonata No. 32 in C minor, Op. 11."

Josephine's death contributed to the intense and deep sad feelings (worsened by the deterioration of his health) in that years 1821 and 1822, expressed in his last two Piano Sonatas, the latter of which is considered as the Farewell to the Piano (and to Josephine) with notes of sorrow that as a Requiem of continuous rain of tears flow abundantly inwardly... towards the soul... and with silent sighs, covering the instrument he loved most during his lifetime... and his Eternally Beloved... Josephine von Brunswick...

The first movement of the Piano Sonata 32 in C minor, Opus 111, the last Sonata, expresses a:

"... "Titanic Power. What a volcanic outburst! Powerful, solemn, majestic!, full of the most beautiful musical expression;... how much more full of meaning is this introduction than that to the Sonata Pathétique"..." Then the distant roll "of the thunder coming nearer and nearer, or the howling of the wind..." and "the spirit suddenly soars into a freer, lighter sphere, but only for an instant to brace itself anew for a sterner struggle. Terrible is the fury of the storm in the second part..."

"The second and last movement opens with an Arietta adagio molto semplice cantabile... divine exhalation..." with "elegiac melodies" of mourning songs...

In this last Sonata, Opus 111, the Sonata of Farewell to the Piano and to his beloved "Pepi" (Josephine), Luis van Beethoven left many things hidden.

"Countess Josephine von Brunswick died on 31 March 1821. During this year, Beethoven composed his very last Piano Sonatas Op. 110 and Op. 111, believed by many musicologists to be clearly like requiems, with discernible reminiscences to 'Josephine's Theme', the Andante favori..."

Excerpts from Luis van Beethoven's Letter to Josephine, written in [Vienna, Spring 1805]:

"... Yesterday you were so sad, dear J[osephine] --- Do not abandon yourself to your propensity to sadness too much, how it hurts me to see you so --- and all the more so, when I do not know how or where I can help --- Here your --- your --- Andante ['Andante Favori'] and the sonata --- Tomorrow evening I will come to your home, if nothing prevents me from it? --- all good wishes, angel of my heart."

"The Farewell to the piano... The sonata Opus 111 is Beethoven's last work for piano. Although he died in March 1827, more than four years after the completion of this work. During this period, Beethoven continued working on important works, such as the Ninth Symphony and the last string quartets, and on projects that never saw the light of day, such as his Tenth Symphony and an opera based on the novel Faust. But none of these composition is written for piano, which was his favorite instrument,...", with the exception of "Opus 134", "Arrangement for Piano-4-hands" of the "Great Fugue" Opus 133 (1825).

Beethoven's String Quartet Opus 131, with notes similar to the "Kol Nidrei" sung on the eve of the celebration of Yom Kippur, is a Song of Prayer and "Restoration" of Bacchus-Beethoven and his Eternally Beloved "Leah-Rachel".

We Love all Beings, all Humanity.
Every Human Being is also Humanity.

"May all Beings be Happy!"
"May all Beings be Blessed!"
"May all Beings be at Peace!"

In Homage to the Great Master of Music
Luis v. Beethoven.

Shabbath Day
December 17, 2011.

- Revision and expansion completed on December 17, 2012 -

- New revision and expansion completed with the Help of God on Shabbath Eve, Friday, September 13, 2013, on the Eve of "Yom Kippur" -

- New revision and expansion completed with the Help of God on Shabbath Eve, Friday, December 20, 2013, on the occasion of the recent Anniversary of the Birth of the Great Master of Music Luis v. Beethoven -

- New revision completed with the Help of God on Sunday, December 14, 2014 -

With all my Heart
for all Poor Suffering Humanity
Luis Bernardo Palacio Acosta
Bodhisattva of