Open Letter to University of Michigan Historian Dr. Kira Thurman on Officially Changing Beethoven’s ‘Kreutzer’ Sonata Op. 47 (1803) to the Original Dedication–‘Bridgetower’ Violin Sonata No. 9
Suggested Listening Music— Beethoven, Violin Sonata No. 9 – “Beethoven-Bridgetower” Sonata No. 9 (aka ‘Kreutzer’) (1803); Palestrina, Sicut Servus (Op. posth., 1604); J.S. Bach The Well Tempered Clavier (Book I & Book II) (1723); Robert Schumann, Kinderszenen (Scenes from Childhood), Op. 15 (1838); Bruckner, Christus Factus Est (1884); Brahms, Double Concerto for Violin and Cello (1887); Rachmaninoff, Piano Concerto No. 2 in C minor, Op. 18 (1900/01)(Yuja Wang, piano); Chopin, Sonata No. 3 in B Minor, Op. 58 (1844); Scriabin, 24 Preludes, Op. 11 (1897); Franz Liszt, Faust Symphony (1857); Wagner, Gotterdammerung, Siegfried’s Death and Funeral March (1874); Hector Berlioz, Hungarian March from The Damnation of Faust (1846-47).
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About the Author—Professor Ellis Washington, J.D.—I went to Harvard Law School for 1 year (1988-89) with future POTUS Barack Hussein Obama, (b. 08/04/1961 – d. 09/29/2019), who was a secret descendant of the Rothschild Banking Cartel Family and a blood grandson of the German NAZI dictator, Adolf HITLER! – who was also a Rothschild – but I took the opposite path in Life—New World Order, Communism, Treason, Pedophilia and Satanic Ritual Abuse vs. Christianity, Conservatism, Protecting the Children & America First Nationalism. I repeatedly refused to take the “Satan OATH” which is why I’ve been blacklisted since 1989 – for over 37 years—for my entire legal and academic career, yet I Fight on! Why? To avenge Harvard University’s original 1692 motto—Veritas pro Christo et Ecclesia {= Truth for Christ and the Church}.
How do We the People escape the 150-year Rothschild Chattel Slavery systems (e.g., Birth certificates [= Birth Bond Fraud–Part I & Part II], Death certificates, Social Security numbers bought, sold and trading people’s identities like barnyard animals on Wall Street) and Rothschild Debt Slavery systems (e.g., IRS, Income Taxes, Death Taxes, Fiat or Counterfeit currency not based on Gold or Silver, but based on NOTHING! Cui bono?– Who benefits? Why are all national currencies of the world promiscuously printed at will by the Rothschild Central Bankers? Is it to fund perpetual False Flag Wars like—America- Israel vs. Iran, America vs. New World Order, America vs. Venezuela, Israel vs. Gaza, Syria, Iran, Yemen & Lebanon, Russia vs. Ukraine, Taiwan vs. China, Rwanda vs. Congo, Cambodia vs. Thailand, Armenia vs. Azerbaijan, Civil war in France, in Yemen, in Laos, in Indonesia, and existential battles all over the world, while keeping the entire world enslaved inside an existential – Birth-School-Labor-Taxes-Debts-Retirement-Death cycle of the Rothschild Khazarian Mafia Matrix (1871-2021[26])? Further answers can be learned by reading, studying and sharing the Truth of my Critical Thinking blog that on 1 March 2026) surpassed 27 million views! See, EllisWashington Report.com, Facebook, Twitter/X—#JesusIsGod (Isaiah 9:6) #DCActof1871 |
You have been lied to all of your life. History has been a [Big] Lie created by the [Rothschild Khazarian] Cabal for thousands of years for Control.
“The truth is often not that very complicated. What gets complex is evading the truth.”
— Dr. Thomas Sowell
“A house made with memory is stronger than a house made with walls.”
— Sicilian Proverb
4 Sept. 2026
Dear Dr. Kira Thurman:
See generally, transcript below containing a short, iconoclastic summary of what I refer to as the “Beethoven-Bridgetower Conspiracy”—Beethoven Stole Bridgetower’s Masterpiece he Co-wrote with Beethoven and Erased him from History!
{Transcript} “Did you know one of the most famous violin pieces in history was stolen from a Black prodigy over a petty argument? In 1803 George Bridgetower co-composed and performed a [violin] sonata with Ludwig van Beethoven who originally dedicated the masterpiece to him, but after a backstage fight over a woman, a furious Beethoven scrubbed Bridgetower’s name from the manuscript dedicating it instead to Rudolph Kreutzer—a man who couldn’t even play it.”
My name is Professor Ellis Washington, J.D. (M.M., 1986, UMich; Mich. Law Rev., 1989), and I am a graduate of the University of Michigan where you teach. I was doing some research on George Bridgetower and as serendipity would have it, early this morning I stumbled upon your informative Abstract on what I refer to as the “Beethoven—Bridgetower Controversy” regarding Beethoven’s most famous Violin Sonata No. 9 (aka ‘Kreutzer Sonata’). As is well known now this Sonata was originally composed for and dedicated to Beethoven’s young friend and colleague—the legendary young Black prodigy and violin virtuoso, George Polgren Bridgetower (1778-1860).
One of my favorite performances is by the great German violinist, Anne-Sophie Mutter with Lambert-Orkis on piano. Listen to the first movement, which in my opinion is greater than all the other violin sonatas ever written before or after Beethoven! For those interested, there is a movie scene of this based on this Sonata titled “Immortal Beloved” [1994] a scene which briefly showed a Black violinist performing Beethoven’s Violin Sonata No. 9 in the background (presumably Bridgetower) while Beethoven and another person are conversing.
Review of the Wikipedia Article and Notes on the “Beethoven-Bridgetower Conspiracy” Surrounding his Violin Sonata No. 9 (“Kreutzer”)
Below are two sections of the rather short but useful Wikipedia article on Beethoven’s Violin Sonata No. 9. Although my teacher, the eminent Musicologist and Historian Professor Arthur R. LaBrew (1930-2015) (who studied under the great German Musicologist, Gustav Reese [1899-1977]) in my humble opinion is without peer in writing about Black musical contributions to Classical music from nearly two millennia before Christ through the 1950s, nevertheless, Wikipedia has no entry for him (or myself and I’ve written 11 books and 36 law review articles, translated into over 2 dozen languages)?!? Furthermore, the endnotes to the article on Beethoven’s Violin Sonata No. 9 have no mention of Professor LaBrew’s scholarly contributions on this subject which includes an article (over 100 pages) which is essentially a book in miniature on the Beethoven-Bridgetower Conspiracy whereby much of his materials are completely original. (*N.B.: Below [highlighted in yellow] I have included Professor LaBrew’s ‘book’ on Beethoven-Bridgetower under “Selected Works by Professor Arthur R. LaBrew”).
Premiere and dedication
The sonata was originally dedicated to the violinist George Bridgetower (1778–1860) as—
“Sonata mulattica composta per il mulatto Brischdauer [Bridgetower], gran pazzo e compositore mulattico” (Mulatto Sonata composed for the mulatto Brischdauer, great madman mulatto composer).
Shortly after completion, the work was premiered by Bridgetower and Beethoven on 24 May 1803 at the Augarten Theatre at a concert that started at the unusually early hour of 8:00 am. Bridgetower sight-read the sonata; he had never seen the work before, and there had been no time for any rehearsal.[4][5]
After the premiere performance, Beethoven and Bridgetower fell out: while the two were drinking, Bridgetower apparently insulted the morals of a woman whom Beethoven cherished. Enraged, Beethoven removed the dedication of the piece, dedicating it instead to Rodolphe Kreutzer (1766-1831), who was considered the finest violinist of the day.[6]
Selected Notes from my Facebook page on Bridgetower (Sept. 19, 2026)
Did you know that the famous Classical music composer Ludwig van Beethoven (1770-1827) originally co-composed and dedicated his most famous Violin Sonata No. 9 “Kreutzer” to a Black man, a prodigy, and violin virtuoso named GEORGE POLGREN BRIDGETOWER (1778-1860) who although he lived a long life, outliving his estranged friend Beethoven by 33 years!? Thanks to Beethoven and despite his prodigious musical gifts, Bridgetower would live a long life in virtual obscurity dying in 1860 – that same year just 5 months before the birth of that great Romantic Symphonist and Conductor, Gustav Mahler (1860-1911).
If Beethoven originally co-composed and dedicated his most famous violin sonata to Bridgetower, then why is Kreutzer’s name on this opus to this day? Because in a drunken argument between the two men arose allegedly over a woman causing Beethoven to angrily but unjustly change the dedication to the French violinist Rudolphe Kreutzer who hated this violin sonata, never played it, and technically couldn’t play it. On the other hand, Bridgetower sight read the debut performance of the Sonata in 1803, and even spectacularly improvised missing sections of the manuscript Beethoven hadn’t had time to finish composing since Bridgetower co-composed the Sonata No. 9 with Beethoven.
The Sonata was premiered in Vienna on May 24, 1803. Thus, 223 years is long enough for George Bridgetower (and by association, Black Classical Musicians throughout the Ages) to get notoriety and Justice on this issue. Therefore, in this 2026 Open Letter to Professor Kira Thurman I strongly propose the creation of a new Beethoven-Bridgetower Edition of the so-called “Kreutzer” Violin Sonata No. 9 with historical background notes from Professor Arthur R. LaBrew affirming that Bridgetower co-composed, was the dedicatee, and premiered this opus. And to finally set the historical record straight giving a unheralded Black genius his due respect and acknowledgement of co-composing this singularly greatest Violin Sonata in the history of the genre.
Inquiry to Various European and American Classical Music Publishers to Publish a New “Beethoven-Bridgetower” Edition of his Violin Sonata No. 9 to Commemorate the Bicentennial Year of Beethoven’s Death (1827-2027)
Sept. 30, 2026
Dear Music of the United States of America (MUSA):
My name is Ellis Washington. I am an American Professor of Law, History and Music. Recently I wrote an extended essay titled – Open Letter to University of Michigan Professor of History Dr. Kira Thurman on Officially Changing Beethoven’s ‘Kreutzer’ Sonata Op. 47 (1803) to the Original Dedication–Beethoven ‘Bridgetower’ Violin Sonata No. 9.
My inquiry is this – Would your publishing house be interested in publishing a special “Bridgetower Edition” of Beethoven’s Violin Sonata No. 9 (‘Kreutzer’) using historical research and notes from the scholarship of my teacher, the legendary Musicologist – Professor Arthur R. LaBrew (1930-2015) (and others linked in the essay below)? Rigorous and iconoclastic scholarship that indisputably demonstrates that not only did Bridgetower co-compose Beethoven’s legendary Violin Sonata No. 9 (the so-called “Kreutzer” Sonata) with Beethoven, but Bridgetower incredibly sight read this fiendishly difficult work and gave it’s premiere on May 24, 1803 at the Augarten Theatre in Vienna, Austria.
Furthermore, Bridgetower improvised missing sections of the violin sonata at the premiere no doubt using materials he composed for this sonata previously, and affirmed by Beethoven himself that he had indeed originally co-composed and dedicated this opus solely to George Bridgetower. Beethoven’s subsequent rededication to the French violinist, Rodolphe Kreutzer (1766-1831), (who hated this “Kreutzer” Violin Sonata, refused to accept Beethoven’s rededication of the Sonata to him, didn’t understand or appreciate this opus, and technically couldn’t play what eventually became known as the greatest violin sonata in the history of classical music), was a petty aberration of history on Beethoven’s part and only added insult to injury by taking Bridgetower’s name off of the original manuscript.
In conclusion, Beethoven’s masterpiece was completed in 1803, next year will be the bicentennial year where the entire Classica Music world will commemorate Beethoven’s death (1827-2027). Thus, after 224 years since the creation of the Violin Sonata No. 9 it would be most morally just and historically deserving for the British violin prodigy and virtuoso, George Polgren Bridgetower (1778-1860) (a musician of such mastery, vision, and resources as to die in 1860 owning a complete string quartet of four [4] Stradivarius instruments [e.g., 2 violins, 1 viola, 1 cello]), to finally receive a special “Bridgetower Edition” of Beethoven’s Sonata No. 9 after being so unjustly erased from music history for over two centuries, over what? – a drunken, petty, and perhaps racist argument with Beethoven over a woman of whom nobody even remembers her name.
Black Classical musicians throughout the Ages have waited far too long to have their collective voices and their important aesthetic contributions continually silenced, their collective crowning achievement ignored any longer. NOW is the acceptable time for CHANGE! #JusticeForBridgetower
PEACE & VERITAS!
Professor Ellis Washington, J.D. (U.S.A.)
Email: Elliswash1@aol.comCc: Wiener Urtext, Breitkopf and Hartel, G. Henle Verlag, International Music Company, G. Schirmer, Inc., Schott Music, etc…
Reception and Inspiration by others including Russian Novelist Leo Tolstoy
The Kreutzer Sonata (1901), painting by René-Xavier Prinet, based on Leo Tolstoy‘s 1889 novella, The Kreutzer Sonata. After its successful premiere in 1803, the work was published in 1805 as Beethoven’s Op. 47, with its re-dedication to Rudolphe Kreutzer, which gave the composition its nickname. Kreutzer never performed the work, considering it “outrageously unintelligible”. He did not particularly care for any of Beethoven’s music, and they only ever met once, briefly.[7]
Referring to Beethoven’s composition, Leo Tolstoy‘s novella The Kreutzer Sonata was first published in 1889. In it, the protagonist refers to the piece as “passionate to the point of obscenity”. The novella was adapted in various stage and film productions, contributing to Beethoven’s composition becoming known to the general public. Leoš Janáček‘s 1923 String Quartet No. 1, subtitled Kreutzer Sonata, was, in turn, inspired by Tolstoy’s novella.
Rita Dove‘s 2009 Sonata Mulattica reimagined the life of Bridgetower, the sonata’s original dedicatee, in poetry, thus writing about the sonata that connected the composer and the violinist who first performed it.[8]
Professor Thurman, are you familiar with the pathbreaking research and writings of Historian, Musicologist, Professor Arthur R. LaBrew (1930-2015)? I studied with him for 30 years (1985-2015). Below are several essays from my critical thinking Blog: www.EllisWashingtonReport.com. My blog also has a link to a very small portion of research and writings of Professor LaBrew including a short but informative biopic created by his student, D’Andrea Lee and excerpts from his magnum opus — Arthur R. LaBrew, International Encyclopedic Dictionary of Black Classical Music and Musicians—4 Vols. (1750 B.C.-1950s)(1969-2015).
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International Encyclopedic Dictionary of Music & Musicians
(1750 B.C. – 1950s)
4 volumes (2013)[1969-2015]
By
Professor Arthur R. LaBrew, B.A., M.M. (1930-2015)
*N.B.: Professor Arthur R. LaBrew (1930-2015) – 2013 Kresge Literary Arts Fellow and the Detroit Intellectual, Historian and Musicologist whom I studied under for 30 Years (1985-2015).
If memory serves me correctly, just before he died in Feb. 2015, Professor LaBrew printed out about 20-25 complete hard copies of this monumental opus which I trust is still kept in storage by Professor LaBrew’s nephew (Darryl Prestwood). Before anything happens to Professor LaBrew’s historical notes and invaluable manuscripts and research materials, I really would like to see these precious works properly catalogued and housed inside The University of Michigan Bentley Historical Collection ASAP for future generations, especially the young people to learn and enjoy.
Selected Writings by Professor Arthur R. LaBrew (1930-2015):
· GEORGE AUGUSTUS POLGREEN BRIDGETOWER
· BLACK AND WHITE SCHOLARSHIP COMPARED
· A PHILADELPHIA SUCCESS STORY
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Essay #2 (highlighted above) contains a very important contribution by Professor LaBrew, containing an extended essay (a virtual book!) on George Bridgetower and the Beethoven-Bridgetower Conspiracy. Due to this opus length, historical depth and complexity, it should really be considered a book (in my opinion), and published posthumously as a self-contained book. Also, the good news that Professor LaBrew’s collected writings are presently being assembled, catalogued, and archived at the Bentley Historical Collection at the University of Michigan where you are teaching. I suggest that you contact Principal Archivist, Michelle McClellan, for further info and to view the materials of Prof. LaBrew already available to the public.
Perhaps you can work with Professor LaBrew’s relatives and students to obtain the rest of his research materials. The info I have on these people is as follows—nephew (Daryl Prestwood), who I believe still has the original storage unit containing all of Professor LaBrew’s research materials, niece (Danielle Ali) and a former piano student of LaBrew (D’Andrea Lee) can help you in coordinating these acquisition efforts before these rare materials Professor LaBrew spent his entire life collecting for over 65 years (1948-2015) are lost to eternity.
Dr. Thruman, the other people copied on this email are — friends, colleagues, journalists, professors, administrators, musicians, museum archives, library archives, orchestras, and artist foundations including a diverse group of interested people that are familiar with my 40+ years struggles (1983-2026) to obtain Equal Justice under the Law and recognition both for myself and for iconoclast scholars like—the “Queen of the Harlem Renaissance” – Zora Neale Hurston (1891-1960), like Black Conservative writer and satirist, George Samuel Schuyler (1895-1977) (aka “the Black H.L. Mencken”), like Professor Arthur R. LaBrew (to whom I published an essay literally on the day he died in Feb. 2015), and like Black intellectuals and artists, teachers, historians and scholars throughout American and World History who have been marginalized, discriminated against, and ignored for far too many years.
Peace & Veritas!
Prof. Ellis Washington, J.D.
UMich, M.M.(1986); UMich Law Rev., 1989)
Critical Thinking Blog: www.EllisWashingtonReport.com
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Books by Professor Ellis Washington, J.D.
Epilogue—Forbidden Knowledge, Iconoclastic Notes and Selected Readings for Children and College Students, Adults and Seniors Who Appreciate and Love the Reality of Veritas (Truth)
Homework for Students—
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1. Transcribe podcaster text (beg. @35:25), critically study, and write your own notes regarding the thesis statement in this video regarding how today’s youth for several generations have been enslaved in Socialism and Communism, Liberalism and Progressivism without realizing it. (See Communism-Socialism memes above)
3. Video–In 1913 the Carnegies Brought Every Library in America – then Replaced the Old Books, by The Reversed Century.
4. Questions for Student Thought? – Why is the Deep State putting air tags in millions of books, scanning them and destroying them en masse
5. Question? – Are the Deep State and the Globalist Conspiracy preparing the world for another ubiquitous “Great Reset”? Why did they do this? To what end was the Deep State pushing U.S. towards – Apocalypse or New Age? Or is the coming New Age our Final Apocalypse?
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“In the 19th century the knowledge inside the schoolroom was higher than the knowledge outside—today it is reversed, the child knows that in going to school he is in a sense interrupting his education“—Marshall McLuhan, 1967
Source: X Post by @BrianRoemmele (Sept. 4, 2025)
*N.B.: See generally, selected YouTube.com video links regarding how ALL school textbooks and curriculums are purposely being created and designed to obfuscate (hide), miseducate, deconstruct, and destroy History, Reality, Truth, God, Christianity, real problem solving, and critical thinking in the minds of young children, in the minds of college students, and en masse against Culture and Society at large. HOW?!? By following the Deep State dictates from our own traitorous U.S. Government that for decades have pushed “Progressive Education” through FBI, CIA and NSA programs like Nazi “Operation Paperclip” and “Operation Mockingbird” using tactics and strategies like—‘Synchronization,’ ‘Consolidation’ and ‘Forcing into line’ (e.g., Gleichschaltung) while indoctrinating students into an existential, ubiquitous and totalizing Nazi (e.g., “National Socialism”) and Cultural Marxist Weltanschauung (Worldview, Philosophy). #Operation Paperclip, #OperationMockingBird, #MKUltra, #MindControl.
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*N.B.: See generally, Consolidation of Nazi Power–Gleichschaltung of fronts and party organization (SlideShare).
*N.B.: According to Yad Vashem (Israel’s official memorial to the victims of the Holocaust) the Nazis adopted and systematically perverted Immanuel Kant’s conception of Weltanschauung for their own evil purposes as a tactical and strategic pretext to foment the growth and development of the Third Reich to dominate and control every aspect of German society. That same philosophy is being practiced here in America under the Democrat Socialists of America [DSA] under the guise of Liberalism, Socialism, Progressivism, Anarchism, Nihilism, Wokism, and Cultural Marxism—
“The Nazis adapted and transformed Weltanschauung (worldview) from a philosophical concept into a rigid, totalizing racial doctrine. They used it to claim absolute scientific truth for biological determinism, transforming politics into an apocalyptic struggle for the survival and dominance of the “Aryan” race.” #Democratic Socialists of America—DSA
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by Medeere Greere, Dec. 7, 2025
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DECLASSIFIED. State Sanctioned Madness. Psychological Warfare. Lies Carved in Stone. Six covert CIA programs exposed: mind control, media corruption, Nazi science, and sex-driven blackmail and Project Artichoke research or government sanctioned DEMOCIDE whereby poisons are systematically hidden in food, water, Coca Cola, beer, cigarettes, and inside all baby and children’s vaccines since 1945 or since the end of World War II. These weren’t experiments — they were weapons. The truth was never meant to be found. But now, it’s out.
Finally, my Dear Children, Students of all grades, College Students, Adults and Seniors, learn all you can from school but understand that your most important, lasting and enduring educational experiences comes from what you learn on your own (e.g., autodidactic) and not from what your Cultural Marxist professors or Leftist instructors teach you which oftentimes is nothing but misinformation, disinformation, and worthless propaganda. As you pursue knowledge, also pursue Wisdom. Why? Because these infinite number of epiphany experiences will shape your hearts and minds molding them into a strong edifice or tower that no false system of Mankind will never be able to knock down. Why? Because it’s built on VERITAS = Truth.
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