CD Index
- Religious Ceremony
- Armenian Song
- Persian Dervish
- Sayyid Chant and Dance No 10
- Dervish Dance
- Marche Alerte
- Kurd Melody for two Flutes
- Asian Song No 40
- Religious Ceremony
- Sayyid Dance No 18
- Caucasian Dance
- Sayyid Dance No 31
- Religious Ceremony
Gurdjieff’s “Work” covers a wide range of methods and groups historically associated with him. His music is rendered meaningless when considered as nothing but “art”. Gurdjieff was much more than a composer; his music constitutes an inseparable part of his teaching. He differentiated “subjective” music from the “objective” one. Listeners have incomplete knowledge of how they are affected by vibrations. Therefore, subjective music is based on the ordinary associative process generating, thus, accidental reactions to the audience. Objective music, on the other hand, is based on a precise and complete knowledge of the mathematics determining the laws of vibration and producing a specific and predictable result in the listeners.
According to Gurdjieff, the study of vibrations could lead to understanding the universal laws. This approach seems very realistic when considered from the point of view of the String Theory. By describing the stages of creation and evolution through the laws of vibration, Gurdjieff elaborates on an alliance between music and science which dates back to the Pythagorian worldview.
His music can be depicted neither as “modern” nor as “classical”; it is merely ahead of his times. It is divided into three periods: a) the ballet music “The Struggle of the Magicians” and that which accompanied his Sacted-Movements teaching until 1918 b) the work that was written down and orchestrated at Fontainebleau with the help of his disciple Thomas de Hartmann, the so called “Gurdjieff – de Hartmann music” c) Gurdjieff’s improvisations he used to perform on his Kasriel harmonium for his pupils and guests after dinner during the German Occupation up to his death.
Composition G.I. Gurdjieff
Transcription for piano Thomas de Hartmann
Orchestration / Musical supervision Maria Peretzi
Production Dimitris Peretzis
Takis Paterelis piano, flute, saxophone
Pia Pierakou vocals, synthesizer
Giorgos Dounis percussion
Dimitris Gasparatos guitar, bass guitar, percussion, vocals
Giorgos Tambakis guitar, percussion, didgeridoo
The RODA choir vocals
The CD was recorded from the 2nd to 7th January 2012 in RODA’s recording studio in Athens.
Recording / Sound Engineering / Mastering Panagiotis Gasparatos
Studio Manager Stavros Kappas
Photos Orfeas Peretzis
Cover model Nikolas Armis
Original cover model
(inspired by a Claude Bragdon’s pattern) Maria Peretzi