THE MUSIC and DANCE of Gurdjieff / de Hartmann
A "teacher of dance," G.I. Gurdjieff introduced a large body of dances to his students. Some are from the regions of North Africa through Central Asia (and possibly as far as Tibet); many are of his own creation. Gurdjieff died in 1949 having influenced the lives of many people. After his death, some went their own way while others organized themselves formally. All continued to work with what they received from him and to pass on their understanding. Today few of Gurdjieff's personal students are alive, while the numbers of their students and their students' students continue to increase. Among the "grandchildren" of Gurdjieff is a new generation born of his influence, grown, and taking responsibility for what they received. Our work is a meeting of this responsibility. Our work is ongoing. It is work-in-progress.
Music for movements:
Working with Russian composer Thomas de Hartmann and inspired by ancient music he heard and learned during his travels, Gurdjieff created a body of musical work designed to harmonize the human psyche and make possible a higher emotional experience. Normally our thinking, feeling and moving "brains" are disharmonic — the Gurdjieff / De Hartmann Music assists in their re-harmonization. This work with music is an integral part of our work and is present in the seminars. Only live music and acoustic instruments should be used in the work of Gurdjieff dance.
BIO related to Gurdjieff's Music:
The music of Gurdjieff / de Hartmann is the result of an extraordinary collaboration between the Greek-Armenian spiritual teacher, G. I. Gurdjieff and Russian composer, Thomas de Hartmann. Gurdjieff traveled for twenty years in the Middle East and Central Asia to discover and develop the teaching which now bears his name. Meditative and mindful, Gurdjieff’s music stems from Eastern melodies and music he heard in remote monasteries.
From 1923 to 1929, Thomas de Hartmann worked closely with Gurdjieff at his Institute for the Harmonious Development of Man outside Paris, translating into European notation the music Gurdjieff composed from his travels. The original tapes containing these tracks were recorded in the 1950s under informal circumstances with rudimentary equipment, never intended to be heard by the public. As for the instrumentation, the performance is stripped down to nothing more than a single piano (played by de Hartmann) but lacks absolutely nothing; rather de Hartmann uses the negative space between notes to revel in resonance, in turn capturing remarkable depth and meaning.
Following the appearance of a track on LITA’s I Am The Center: Private Issue New Age In America 1950-1990, this material, out of print on vinyl for over three decades, could be considered the seeds that would eventually grow to become the roots of what we now think of as new age music. Jazz pianist Keith Jarrett, who recorded the album G. I. Gurdjieff: Sacred Hymns for the ECM label in 1980, is among the artists to interpret this music since, but the tracks presented in this five LP box-set are the only recordings available of de Hartmann himself playing the music he and Gurdjieff composed. Also included are seven additional recordings, never before available on vinyl, including a talk by de Hartmann about Gurdjieff’s view of the music.
"One of the best means to awaken the wish for inner work is the understanding that one can die at each moment. Only you must first realize this."
From "Asian Songs and Rhythms:"
LISTEN to his MUSIC:
Sources for Italian Language: