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Gurdjieff and Music
 Aries Book Series
Texts and Studies in Western Esotericism

Editor

Marco Pasi

Editorial Board

Jean-Pierre Brach
Wouter J. Hanegraaff
Andreas Kilcher

Advisory Board

Allison Coudert – Antoine Faivre – Olav Hammer

Monika Neugebauer-Wölk – Mark Sedgwick – Jan Snoek
György Szőnyi – Garry Trompf

VOLUME 20

The titles published in this series are listed at brill.com/arbs

 Gurdjieff and Music
The Gurdjieff/de Hartmann Piano Music
and Its Esoteric Significance

By

Johanna J.M. Petsche

LEIDEN | BOSTON
Cover Illustration: Photo reproduced with kind permission from Dorine Tolley and Thomas A.G. Daly.

Library of Congress Cataloging-in-Publication Data

Petsche, Johanna J. M.
Gurdjieff and music : the Gurdjieff/de Hartmann piano music and its esoteric significance / by Johanna
J.M. Petsche.
pages cm. -- (Aries book series ; v. 20)
Includes bibliographical references and index.
ISBN 978-90-04-28442-5 (hardback : alk. paper) -- ISBN 978-90-04-28444-9 (e-book)
1. Gurdjieff, Georges Ivanovitch, 1872-1949. Piano music. 2. Gurdjieff, Georges Ivanovitch, 1872-1949.
3. Hartmann, Thomas de, 1885-1956. I. Title.
ML410.G9772P47 2015
786.2092--dc23
2014038858

This publication has been typeset in the multilingual “Brill” typeface. With over 5,100 characters
covering Latin, ipa, Greek, and Cyrillic, this typeface is especially suitable for use in the humanities.
For more information, please see www.brill.com/brill-typeface.

ISSN 1871-1405
ISBN 978-90-04-28442-5 (hardback)
ISBN 978-90-04-28444-9 (e-book)

Copyright 2015 by Koninklijke Brill NV, Leiden, The Netherlands.

Koninklijke Brill NV incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi and
Hotei Publishing.
All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system,
or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise,
without prior written permission from the publisher.
Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill NV provided
that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive,
Suite 910, Danvers, MA 01923, USA.
Fees are subject to change.

This book is printed on acid-free paper.

Contents

Acknowledgements VII
Music Definitions and Abbreviations of Texts IX
Notes to the Reader XII
List of QR Codes Xv

Introduction 1

1 Gurdjieff, His Music and Teaching 9

2 Music in the Biography of Gurdjieff 39

3 Music in the Biography of de Hartmann 65

4 The Collaboration 93

5 Sources and Styles 110

6 Sheet Music and Recordings 134

7 The Piano Music, Gurdjieff's Cosmology and Views on Art 154

8 Three Purposes of the Piano Music in Light of Gurdjieff’s Life

Circumstances and Esoteric Teaching 181

Conclusions 212

Appendix A: The Movements and Music for Movements 221

Appendix B: The Struggle of the Magicians 236
Appendix C: The Harmonium Music 239
Appendix D: Chronological Order of Compositions 244
Appendix E: Biographical Sketches of Key Pupils 252

Bibliography 257
Index 275
Acknowledgements

This book came together due to the generosity, advice, and knowledge of
many people.
Dorine Tolley has been a formidable source of information and advice, and
a constant support and inspiration. Some of the most memorable moments of
my research involve our animated discussions in her living room over count-
less pots of tea and piles of strange and wonderful books. Participating in
Dorine’s Movements class has been a unique experience and I have ­valued
spending time with this group of exceptional people.
Nigel Tolley, I very much appreciate your council and wisdom over the years.
I thank Professor Carole Cusack for her direction, patience, inexhaustible
knowledge, and for believing in me and getting me through the difficult times.
I am also grateful for the fashion tips and ironing lessons. And Don, here is your
special mention as was promised over the many fabulous home-cooked meals
you provided (which always included copious left-overs). These meals were
restorative in more ways than one. Thank you for your good humour and super
special library assistance.
Joseph Azize is an encyclopaedia of Gurdjieff learning, and has been a
­valuable source of knowledge. I thank him sincerely for all his time and
encouragement.
I would also like to thank the following people for generously speaking with
me in person about the Gurdjieff/de Hartmann piano music: Dushka Howarth,
Gert-Jan Blom, Wim van Dullemen, Solange Claustres, Charles Ketcham,
Laurence Rosenthal, Tom A.G. Daly, Sophia Wellbeloved, Annette Courtenay-
Mayers, Julian Keble, Norman Higgins, Elan Sicroff, Ken Adie, Michael Griffith,
and Roger Lipsey. Special thanks to Gert-Jan and Tom, who gave me a lot of
time and material. Gert-Jan, I appreciated the opportunity to play Gurdjieff’s
own harmonium! I am grateful to Elan Sicroff, Laurence Rosenthal, and Charles
Ketcham for personally playing for me remarkable renditions of the Gurdjieff/
de Hartmann piano music, which were a privilege to experience.
My family have been, and always are, wonderful. Special thanks to Mum for
being the best mother, and for reading over my work and getting so involved
and interested in my topic.
My love Sebastiaan, you are my rock, and give me motivation and confidence.
Alex Norman, you have nurtured me in my academic journey right from my
undergraduate days. I have fond memories of extravagant Badde Manors
breakfasts in Glebe. Thank you for encouraging me to do a Ph.D. and for being
there.
viii Acknowledgements

Thank you to the following people for reading my drafts with such care:
Carole Cusack, Joseph Azize, Jay Johnston, Alex Norman, Chris Hartney, Mum,
Dorine Tolley, Paul van Oyen, Sebastiaan van Oyen, Joy Portugal, Venetia
Robertson, Zoe Alderton, Tom A.G. Daly, David Pecotic, Daniel Rojas, Ian
Shanahan, Mario Baghos, and Tina Burge.
Finally, I would like to thank all the animals that played key roles in the
formation of this book during my pet-sitting days: Strudel, Gracie, Fidel, Ka,
the late Mr Dibblesworth, Max, Sam, Lili Kamala Johnston, Monsieur Benson,
Nemo, Muffy, Benny, the late Miss Christabel, Satchmo, Bismarck, Neville,
Boris, Bernie, Monte, and the fish with no name. I could not have done it with-
out you.
Music Definitions and Abbreviations of Texts

Antiphony A call and response style of singing, usually where one

or more soloists sing in alternation with a choir.
Appoggiatura An ‘ornamental’ note or dissonant melodic decoration
that seeks to be resolved by leaning toward another
note in very close proximity.
Cadence A melodic or harmonic formula involving the move-
ment of two chords that occurs at the end of a compo-
sition, section, or phrase, usually conveying the
impression of a momentary or permanent conclusion.
Dissonance A musical sound that requires resolution, and brings
an element of tension or disturbance to the music.
This is, of course, relative to the musical setting in
which it occurs.
Drone Also known as pedal point, it is a long-held note or
combinations of notes, normally in the bass.
Equal temperament Where the octave is divided into twelve equidistant
semitones (the smallest step in the Western music sys-
tem). No interval other than the octave is acoustically
pure. The principle of equal temperament was most
clearly expounded by the Chinese Prince Tsai-yu in
1596 and by Marin Mersenne in 1635. The system was
universally adopted in Germany around 1800, and in
France and England around 1850.
Harmonic series A series of composite notes (harmonics) that accom-
pany all notes produced by musical instruments. A
sounding body tuned to give the note C, for example,
also gives more faintly the C an octave above and the
G a fifth above that, as well as a host of higher notes
where intervals between notes become smaller and
the sounds become fainter as the series ascends.
Harmonics occur because a vibrating body, such as a
string, vibrates simultaneously as a whole and in sec-
tions of one-half, one-third, one-fourth, and so on, of
its entire length. A diagram of the first sixteen notes of
the harmonic series beginning on a low G can be
viewed in Chapter 7. However, notes in the diagram
are approximate, as notes in the series differ slightly
from equal temperament tuning.
x Music Definitions and Abbreviations of Texts

Homophony A musical texture where individual instrumental and

vocal parts move simultaneously as blocks of har-
mony. This is in contrast to polyphony, where parts
move independently of each other.
Interval  The difference in pitch between any two notes.
Intervals can be determined precisely by the ratio of
the frequencies of the notes or, taking notes in equal
temperament tuning, according to the number of
semitones or chromatic steps contained in the inter-
val. Intervals of the octave, fifth, and fourth are known
as ‘perfect’ intervals. Where the octave is acoustically
‘perfect’ or pure in equal temperament tuning as it
derives from the harmonic series, intervals of the
fourth and fifth are indistinguishably close to natural
intervals of the harmonic series.
Mode In its most general sense, a mode is simply the selec-
tion of tones, arranged in a scale, that form the basic
tonal substance of a composition. In its narrower
sense, the term denotes the medieval church modes
that dominated European music for eleven hundred
years, and continued to influence composers for at
least another four hundred years. It is the latter defini-
tion that is applied here. St. Ambrose (c.340–397),
Bishop of Milan, set out four eight-note modes based
on earlier Greek modes. Pope Gregory (c.540–604)
added four more modes, referring to the Ambrosian
modes as ‘authentic modes’, and his new modes as
‘plagal modes’. Much later, Swiss monk Heinrich
Glarean (1488–1563) added another four modes,
establishing the system of twelve modes that is known
today. The twelve modes are known as: Hypodorian,
Dorian, Hypophrygian, Phrygian, Hypolydian, Lydian,
Hypomixolydian, Mixolydian, Hypoaeolian, Aeolian,
Hypoionian, and Ionian. However, Church plainsong
was, and still is, restricted to the earlier eight modes.
Monophony Having a single melodic line without accompanying
harmony, as opposed to homophony and polyphony.
Parallel motion When two or more parts move together so as to main-
tain the same intervals.
Music Definitions And Abbreviations Of Texts xi

Abbreviations

Herald The Herald of Coming Good (G.I. Gurdjieff)

Life Is Real Life Is Real Only Then, When ‘I Am’ (G.I. Gurdjieff)
Meetings Meetings with Remarkable Men (G.I. Gurdjieff)
Our Life Our Life with Mr. Gurdjieff (Thomas and Olga de Hartmann)
Search In Search of the Miraculous (P.D. Ouspensky)
Struggle The Struggle of the Magicians (Gurdjieff’s ballet)
Tales Beelzebub’s Tales to His Grandson (G.I. Gurdjieff)
Views Views from the Real World (G.I. Gurdjieff)
Notes to the Reader

Old city names like Tiflis, Alexandropol, and Constantinople (respectively

modern-day Tbilisi, Gyumri, and Istanbul) are employed here so as to preserve
the names used by Gurdjieff and maintain continuity between Gurdjieff’s writ-
ings and scholarly writings about him. Altering place names to fit each histori-
cal context becomes confusing; place names will be used in accordance with
their usage at the onset of the First World War. For example, here St Petersburg
is always St Petersburg, even though it became Petrograd in 1914 and Leningrad
in 1924 (and St Petersburg again from 1991).
The term ‘the Middle East’, also known in Europe as ‘the Near East’, ‘the Far
East’, or more generally ‘the East’ or ‘the Orient’, is problematic due to its
implicit Eurocentrism, its bundling together of a number of divergent societies
and locales, as well as confusion over the regions it encompasses. Nevertheless,
‘the Middle East’ functions in this book as a useful umbrella term for the
Caucasian regions of Armenia, Azerbaijan, and Georgia, as well as countries of
the Arabian Peninsula, and Turkey and Iran. This is because the sounds of the
Gurdjieff/de Hartmann piano music indicate musical influences deriving from
this area, while it is difficult to pinpoint exact regions as sources. The term ‘the
East’, admittedly an even more vague term, is also employed here to designate
the ideas and impressions that it conjured in the nineteenth and twentieth
centuries; those of exoticism and mystery. ‘The East’ is acknowledged as a
nineteenth century Western concept.
When referring to men key to this book, such as Gurdjieff, de Hartmann,
and Ouspensky, only surnames are employed. When referring to their wives,
first names are employed; de Hartmann’s wife is always Olga de Hartmann (or
simply ‘Olga’ when repeated) and Ouspensky’s wife is always Sophia Ouspensky
(it is uncertain whether the Ouspenskys were legally married, but this is beside
the point).1 However, there is one exception. In the case of the de Salzmanns,
Alexandre de Salzmann is of much less importance to this book than his wife
Jeanne de Salzmann. Thus ‘de Salzmann’ will refer to Jeanne, and her husband
will be referred to by his full name.
It is worth clarifying here what is meant by ‘the Work’, ‘Foundation groups’,
‘Work members’, and ‘pupils’. The term ‘the Work’ is used here only in relation
to Foundation groups, an international network of orthodox groups organised
by key pupil Jeanne de Salzmann after Gurdjieff’s death. Although some of

1 James Webb, The Harmonious Circle: The Lives and Work of G.I. Gurdjieff, P.D. Ouspensky and
Their Followers (London: Thames and Hudson, 1980), 136.
Notes To The Reader xiii

these groups classify themselves as Gurdjieff Societies and others Gurdjieff

Institutes, they all belong to this core network, and for this reason will all sim-
ply be referred to as Foundation groups. ‘Work members’ or ‘those in the Work’
denote second-generation followers of Gurdjieff, most of whom never met
Gurdjieff, and who are involved in Foundation groups today. The term ‘pupil’,
in contrast, is employed to denote first-generation followers of Gurdjieff who
had direct contact with him.
A large selection of the Gurdjieff/de Hartmann piano music was published
in Gurdjieff/de Hartmann Music For The Piano Vols 1–4 (1996, 1996, 2002, 2005)
by German music publisher Schott Muzik International (henceforth Schott).
When referring to specific pieces, their location in the Schott edition is given.
If pieces do not have titles, numbers allocated in the edition are provided. The
volume and page numbers follow in brackets. For example, No. 32 (Vol. 3,
84–85). As is discussed in Chapter 6, a small number of original titles of pieces
given by Gurdjieff were later altered for the Schott edition. In a few cases titles
were even invented for the edition. For the sake of consistency, titles of pieces
referred to throughout this book are always taken from the Schott volumes,
whether or not Gurdjieff originally gave these titles. However, if a title itself is
relevant to a particular argument, details of its origin will, of course, be given.
Appendix D presents the “Chronological Order of Compositions” placed at
the end of the fourth Schott volume, which lists chronologically all Gurdjieff/
de Hartmann piano pieces published by Schott and where they are located
within the four volumes.2 As discussed in Chapter 6, this list does not represent
all the Gurdjieff/de Hartmann piano music as some pieces were omitted from
the Schott volumes. Nevertheless, it is a very useful inventory that is referred to
frequently in this study.
Finally, via Brill’s Youtube channel it is possible for readers of this book to hear
nine pieces of the Gurdjieff/de Hartmann piano music and three pieces of de
Hartmann’s own music. Gurdjieff/de Hartmann pieces included are “Easter
Hymn and Procession in the Holy Night,” “Essentuki Prayer,” “Hindu Melody,”
“Prayer of Gratitude,” “Sayyid Chant and Dance No. 10,” “Kurd Shepherd’s Dance,”
“The Bokharian Dervish, Hadji-Asvatz-Troov,” and the first and tenth hymns from
“Hymns From a Great Temple.” De Hartmann’s “Prelude,” “Nocturne,” and
“Impromptu” from Six Pieces, Op. 7 (1902) can also be heard. To listen to
these compositions please scan the corresponding qr code from the List of qr
Codes that follows these Notes, with a smart phone or tablet. A qr reader and

2 Linda Daniel-Spitz, Charles Ketcham, and Laurence Rosenthal, “Chronological Order of

Compositions,” in Gurdjieff/de Hartmann: Music for the Piano, Vol. 4 (Mainz, Germany:
Schott, 2005), 109–115.
xiv Notes to the Reader

video player should be installed on these devices. Alternatively, for the e-book
version, you can simply click the link given in the references or footnotes at
which point you will be redirected to the appropriate website. The link for
the complete playlist is as follows: http://jeuj.eu/brillgurdjieffmusicplaylist.
For this option only a video player should be installed on the device.
Esteemed pianist Elan Sicroff generously provided these tracks, which
derive from his three recordings Journey to Inaccessible Places (1985), Sicroff
Plays Gurdjieff (2002), and Laudamus… (2010). Sicroff, a pupil of Nadia
Boulanger, worked closely with Olga de Hartmann on the Gurdjieff/de
Hartmann piano music after her husband’s death, in preparation for private
performances and recordings for Foundation groups. Sicroff has now given
close to one hundred concerts of the music throughout Europe and America.
Most recently, Sicroff is focussed on championing the music of Thomas de
Hartmann through the Thomas de Hartmann Project, an exciting recording
venture in collaboration with producer Gert-Jan Blom. For more, see Sicroff’s
website: www.sicroff.com.
List of QR Codes

Essentuki Prayer

Prelude, Nocturne, and Impromptu from Six Pieces, Op. 7

Prayer of Gratitude

The Bokharian Dervish, Hadji-Asvatz-Troov

Kurd Shepherd’s Dance

Sayyid Chant and Dance No. 10

Easter Hymn and Procession in the Holy Night

First Hymn from Hymns From a Great Temple

Tenth Hymn from Hymns From a Great Temple

9
xvi List of QR Codes

Hindu Melody

10

Complete Playlist of Music

11
Introduction

This book uncovers the tremendous role that music played in the life of
Armenian-Greek spiritual teacher George Ivanovitch Gurdjieff (c.1866–1949),
with focus on the large and diverse body of piano music he composed with
Ukrainian composer and pupil of Gurdjieff, Thomas Alexandrovich de Hart­
mann (1885–1956). This music, mostly composed between 1925 and 1927,
will be termed ‘the Gurdjieff/de Hartmann piano music’ or simply ‘the piano
music’. Elsewhere it has been referred to as performance music,1 listening
music,2 salon music,3 programme music,4 or Gurdjieff/de Hartmann Music
for the Piano.5 This music is one of three main types of music produced by
Gurdjieff; the other two being the music for Movements and harmonium
music. The music for Movements was composed by Gurdjieff and de Hartmann
for the specific purpose of accompanying Gurdjieff’s early period of Movements
(the Movements are dances and exercises choreographed by Gurdjieff), as
well as his ballet The Struggle of the Magicians. Although this music was cre-
ated in a similar fashion to the Gurdjieff/de Hartmann piano music and both
are comparable in style and sound, it is important to distinguish the two, as
they were composed in two distinct periods of Gurdjieff’s teaching, and for dif-
ferent functions. The third type of music produced by Gurdjieff was his impro-
visations on the portable harmonium, many of which were recorded in the last
ten months of his life. The harmonium was a constant companion for Gurdjieff
from at least 1926 to his death in 1949. These other types of Gurdjieff’s music
are examined in the Appendices.
Previous studies on the Gurdjieff/de Hartmann piano music are limited to a
fairly small number of articles and chapters in Gurdjieff-centred publications,
to liner notes in recordings, and to the prefaces and notes of the four volumes
of sheet music published by Schott. Many of these writings are by scholarly-
oriented ‘insiders’, meaning people either in ‘the Work’ or people with strong
personal affiliations towards Gurdjieff’s ideas. These writers often view the
music from within a Gurdjieffian framework, employing Gurdjieff’s terminol-
ogy and ideas to explain the music; concepts which are meaningless outside of

1 Gert-Jan Blom, Oriental Suite: The Complete Orchestral Music 1923–1924 (Netherlands: Basta
Audio Visuals, 2006), 41.
2 Julian Keble and Norman Higgins, personal communication (27 August 2009).
3 Joseph Azize, pers. comm. (10 July 2009); Roger Lipsey, pers. comm. (13 July 2010).
4 James Moore, Gurdjieff the Anatomy of a Myth A Biography (Shaftsbury, Dorset: Element,
1991), 350.
5 De Salzmann coined this for the Schott edition of the music.

© koninklijke brill nv, leiden, 2015 | doi 10.1163/9789004284449_002

2 Introduction

Gurdjieff’s system. This means that discussions on the music have, up until
now, been characterised by an uncompromising sympathy that precludes
any critical analysis of it and of the circumstances surrounding its production,
performance, and reception. For Laurence Rosenthal, for example, this music
eludes contextual examination: “[t]o compare this music with other, more
familiar, kinds of music, classic or otherwise, is pointless. Although its materi-
als are utterly simple, recognizable, even conventional, it defies classifica­
tion. It seems to have been created with a special aim, a special intent. It is,
finally sui generis. It makes statements and asks questions not to be found
elsewhere.”6
Considering that music and its effects were recurring themes, in fact almost
compulsive interests, for Gurdjieff throughout his life, it is surprising that
scholarship on Gurdjieff so frequently omits any serious study of his involve-
ment with music. In his autobiographical writings Gurdjieff describes his great
admiration for the musical abilities of the ashokhs or travelling bards, a profes-
sion of his father, which had fascinated him as a young boy in Kars, Turkey. He
claimed to have played guitar as a youth and been a devoted chorister in the
Russian Orthodox Cathedral choir.7 During his extensive travels as a young
man Gurdjieff also describes playing, singing, hearing, recording, and memo-
rising music, as well as becoming enthralled in the effects and properties of
vibrations of sound and music.8 (However, as discussed in Chapters 1 and 2,
Gurdjieff’s largely unsubstantiated autobiographical writings must be read
with a critical eye). In his teaching years Gurdjieff incorporated singing and
other musical exercises into his pedagogy, and based his cosmology on musical
analogues. He collaborated with de Hartmann on their piano music and music
for Movements, and in the last twenty years of his life, when de Hartmann had
left him, Gurdjieff consistently relied on his portable harmonium, playing
music for groups of pupils and accompanying readings of his texts.

Synopsis

This book aims to situate, examine, and question the Gurdjieff/de Hartmann
piano music within its historical, socio-cultural, religio-spiritual context.

6 “The Sound of Gurdjieff,” Gurdjieff International Review, Vol. 2, No. 4, Summer 1999, 18.
7 G.I. Gurdjieff, Meetings with Remarkable Men (New York: Penguin Compass, 2002 [1963]),
32–33, 50, 52, 201.
8 Gurdjieff, Meetings, 208; G.I. Gurdjieff, Views From the Real World (London: Penguin Compass,
1984), 184–185.
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