CD Index

  1. Religious Ceremony
  2. Armenian Song
  3. Persian Dervish
  4. Sayyid Chant and Dance No 10
  5. Dervish Dance
  6. Marche Alerte
  7. Kurd Melody for two Flutes
  8. Asian Song No 40
  9. Religious Ceremony
  10. Sayyid Dance No 18
  11. Caucasian Dance
  12. Sayyid Dance No 31
  13. 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

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