Rudolf Steiner‘s music eurythmy forms given in 1924
1 Finale, Sonata in D major Haydn, solo
2 Largo, Sonata for violin and oboe op. 2, No. 8 Handel, duo
3 Ballad in A flat major op. 47 Chopin, solo
4 Dance of Blessed Spirits – piano / flute Gluck, duo
5 Intermezzo op. 76 No. 4 Brahms, solo
6 Intermezzo op. 118 No. 6 Brahms, solo
7 Prelude in B flat minor WtKl No. 22 I Bach, solo
8 Prelude in F minor WtKl No. 12 I Bach, solo
9 Molto allegro in C minor KV 457 Mozart, solo
10 Andante in G major KV 283 Mozart, solo
11 Allegro maggiore in G major, Violin Sonata KV 301 Mozart, duo
12 Largo con gran espressione in C major op. 7 Beethoven, solo
13 Adagio con espressione in A flat minor op. 27 No. 1 Beethoven, solo
14 Allegretto in C flat minor op. 27 No. 2 Beethoven, solo
15 Largo in G minor for 2 violins Handel, duo
16 Prelude in C minor WtKl No. 2 I Bach, solo
17 Prelude in E flat major op. 28 No. 19 Vivace Chopin, solo
18 Prelude op. 11 No. 14 Scriabin, solo
19 Andante con variazione 9th Violin Sonata
in A major op. 47 Beethoven, solo
20 Adagio espressivo 10th Violin Sonata in G major
op. 96 Beethoven, duo
21 Adagio molto espressivo 6th Violin Sonata
in A major op. 30 No. 1 Beethoven, solo
ü I would just to watch No. _____
Final booking date 28 February 2007.
Please state piece of music on the form. We reserve the right of assignment to eurythmy teacher in question. You will find your course at the Information Desk at the beginning of the Conference. Please bring the form and the music.
Selection of music solos for performance on 11 and 13 April 2007 will be made in late February by the organizers and the individuals concerned will then be informed.
Goetheanum, Section for the Arts of Eurythmy, Speech, Drama and Music
Postfach, CH-4143 Dornach
Tel. +41 61 706 43 59, Email:
Section for the Arts of Eurythmy,
Speech, Drama and Music
To live Eurythmy
Professional Conference
April 9 – 14, 2007
at the Goetheanum
Goetheanum
To Live Eurythmy—Professional Conference 2007
Monday, 9 April / Tuesday, 10 April / Wednesday, 11 April / Thursday 12 April / Friday, 13 April / Saturday, 14 April9.00 a.m. Foundation Stone Meditation by Rudolf Steiner presented in eurythmy
German
Group from Dornach / Italian
Group from Milan / English
Group from Forest Row / Spanish
Group from Madrid / German
Goetheanum Stage
Sergei Prokofieff: Talks on the Foundation Stone Meditation and Michael Imagination with eurythmic demonstrations
1st and 2nd The Foundation Stone Meditation and anthroposophical Christology
Demonstration by Group from Dornach / 3rd Michael Imagination
Goetheanum Stage / 4th and 5th Foundation Stone and the 5th Gospel
Goetheanum Stage
10.30 a.m. Break
11.15 a.m. – 12.30 p.m. Eurythmy courses
On the words of the Foundation Stone
1) Sieglinde Lehnhardt (German)
2) Magdalena Pederiva (German/Italian)
3) Melissa Harwood (English)
On the music solos: Basics—Working together on solo pieces of music from the eurythmic elements, using forms Rudolf Steiner gave in 1924
4) Eduardo Torres (German/Spanish)5) Rob Schapink (German/English/Dutch)
6) Gioia Falk (German/Italian)
Prepared solos—Solo pieces of music with forms Rudolf Steiner gave in 1924, worked through before, are corrected individually or in small groups (list attached)
7) Carina Schmid (German/Spanish)8) Margrethe Solstad (German/English/Norwegian)
9) Benedikt Zweifel (German)
10) Dorothea Mier (German/English)
Courses 4 – 10 are open to observers
To eurythmy as art of life
11) Annemarie Ehrlich: Short training with previous preparation approaches to training and retraining for eurythmy in working life (German/English/ Dutch)
12) Elisabeth Rieger: How do I represent eurythmy and develop an approach for specific needs? (German)
13) Christiane Hagemann: Salutogenesis – Prevention course (German) / 11.15 a.m.
Conference impressions
Conclusion: Michael Imagination
Goetheanum Stage
12.30 – 3 p.m. Midday Break
4.00 p.m.
Welcome and introduction
Werner Barfod
Michael Imagination
Else Klink Ensemble, StuttgartEurythmy as artistic impulse
and social art
Andrea Heidekorn: Introduction
It is my profession just to be
Heike Houben: What drives me
Danuta Perennès:
The social life we create
Gudrun Haller: Eurythmy in working life / 3 – 4.15 p.m. Eurythmy courses
On the words of the Foundation Stone
1) Sieglinde Lehnhardt (German)
2) Magdalena Pederiva (German/Italian)
3) Melissa Harwood (English)
On the music solos: Basics—Working together on solo pieces of music from the eurythmic elements, using forms Rudolf Steiner gave in 1924
4) Eduardo Torres (German/Spanish)5) Rob Schapink (German/English/Dutch)
6) Gioia Falk (German/Italian)
Prepared solos—Solo pieces of music with forms Rudolf Steiner gave in 1924, worked through before, are corrected individually or in small groups (list attached)
7) Carina Schmid (German/Spanish)8) Margrethe Solstad (German/English/Norwegian)
9) Benedikt Zweifel (German)
10) Dorothea Mier (German/English)
Courses 4 – 10 are open to observe
To eurythmy as art of life
11) Annemarie Ehrlich: Short training with previous preparation approaches to training and retraining for eurythmy in working life (German/English/ Dutch)
12) Elisabeth Rieger: How do I represent eurythmy and develop an approach for specific needs? (German)
13) Christiane Hagemann: Salutogenesis – Prevention course (German)
4.15 – 4.45 p.m. Break
4.45 p.m.
Opening in plenum
Dr Klaus Fischer
Approaches to quality: social skills / Presentations on eurythmy as art of life
with conversation – sharing views / 4.45 p.m.
PlenumConversation on the conference
14) Andrea Heidekorn (German) with Susanne Seemann – Manuela Schroeder
15) Rachel Maeder (German) and Martina Valentien
16) Danuta Perennès (French/German)
Evening Break
8.00 p.m.
The Seven Words
Heinrich Schuetz – Sofia GubaidulinaEurythmy Ensemble Goetheanum Stage / 8.00 p.m.
Programme from different countries
Groups from Stuttgart, Milan, Spain / 8.00 p.m.
Music solos and duets
using forms Rudolf Steiner gave in 1924 / 8.00 p.m.Eleusis – a mythical play
Eurythmy – Light – Music
Eurythmy Ensemble Goetheanum Stage
Music Frank Michael Beyer / 8.00 p.m.
Music solos and duets
using forms Rudolf Steiner gave in 1924 / The demonstrations will be translated into English and French
Changes may be necessary
Words of greeting
We would like to invite you eurythmists to a conference at the Goetheanum on 9 - 14 April 2007. The three themes for those days will be as follows:
Rudolf Steiner's art impulse will be 100 years old. The eurythmy forms given for the Foundation Stone Meditation and the Michael Imagination after the 1923/24 Christmas Conference took this further esoterically and set a task for the future. We want to start every morning with work on the Foundation Stone in different languages and demonstrations that take us deeper. Developing the music eurythmy forms from 1924, showing one another and also working on them together will, we hope, give everyone the opportunity to make an active contribution in shaping the conference.
Eurythmy in all its forms is part of the impulse of hygienic occultism. Used rightly, it can help people of all ages to strengthen their powers of health. Eurythmy as a means of prevention in our culture. As a third theme we want to consider eurythmy in the social environment. Presentations, courses and shared experience are meant to encourage us to develop abilities in this field.
Work on the Foundation Stone Meditation in eurythmy
Courses on pieces of music with the forms Rudolf
Steiner gave in 1924
Workshops on eurythmy in the field of social work
Performance of orchestral works
Eleusis – a mythical play – Eurythmy - Light - Music
Programme of music solos
We hope that people will come from many countries. Please tell your colleagues about this initiative and help us to make the conference a festival of encounter in eurythmy.
Werner Barfod
Foundation Stone and Michael Imagination
The first eurythmy performance of the Foundation Stone Meditation was at Easter 1924. Rudolf Steiner said that this event would take the spiritual impulse of the Christmas Conference forward. The performance thus has a central connection with the further development of anthroposophy. To grow aware of the full implications of those words, we will see eurythmic demonstrations of individual elements of the meditation. The Michael Imagination from Rudolf Steiner‘s Last Address is equally important. He gave a eurythmy form for this when on his sickbed.
In a conversation with Clara Smits at the time when eurythmy first came into being, Rudolf Steiner said that he himself would use this new art of movement for instance when things were to be presented to people that were so profound that they could not be put in words at all. This will be shown especially with the silent eurythmy preceding and following the Foundation Stone Meditation, for the forms given to these in eurythmy reveal infinite depths of anthroposophical Christology.
Sergei Prokofieff
Rudolf Steiner‘s music eurythmy forms given in 1924
In 1924 und early in 1925, 48 forms were developed for music eurythmy. At that time, too, Rudolf Steiner would never approach the eurythmists. It would always be the work situation or the interest of individual eurythmists that led to a question being put to him. In creating a programme, it would be the texts which determined the forms, music was added more for the transitions.
The dates tell us something about the situation: several questions came on 11, 12 and 13 February, and also on 5 and 28 April and 27 June. Ralph Kux was given the forms for four pieces on 10th July (Beethoven‘s Allegretto in D flat major, Bach‘s Minuet in C major, Bach/Reger‘s Adagiogissimo, Handel‘s Largo in G minor), Annemarie Dubach-Donath four forms on 19 and 21 November (Schubert‘s String Quartet, Chopin‘s Prelude in E flat major, and two Chinese-inspired pieces). Emica Senft received four forms on 21 November (Scriabin‘s Prelude in E flat minor, Tartini‘s Devil‘s Trill Sonata and Veracini‘s Allegro), whilst the last seven forms in 1925 were for Marie Savitch (Bach‘s Adagio in G minor, Gigue in C minor, and parts of Beethoven‘s late Violin Sonatas). So many pieces had not been given to individual performers in previous years.
The Forms are not uniform in style. On the one hand, enquiries were so individual that the result would always be unique, and eurythmists had their favourite pieces of music. It is difficult to compare elements tailored to a personal style of movement and the style of the music. Emica Senft tended to choose lively, temperamental pieces, and the comment has been added to the forms that certain elements can be ‘increased or decreased depending on how the eurythmist feels’.
Composers close to eurythmy were considered in making the selection (Stuten, Dittrich and Lewerenz). Their pieces may not be of great musical value today, but they show how open Rudolf Steiner was to what lived immediately around. Handel‘s Saraband is a strange form for eight eurythmists. Seven forms were created for duets (usually two instruments). All other forms are solos.
The forms created in the autumn clearly show a different style. Steiner did not hear the music when on his sickbed, nor did he have the actual eurythmist before him. He would take the piece visually from the score. These forms are smaller and more subtly drawn. The last Beethoven forms show little movement. Lighting only consisted in a basic setting at the time, with one or two colour moods added for some rhythmic figures. No lighting, therefore, to show the evolution of a piece, but a total image, with some parts emphasized, the criterion being the length of tone.
Apart from this, lighting can be considered according to specific criteria¾basic mood, rhythmical figures, rhythmical structures, level of note “moving up, straight on, or down”, major and minor, evolution as the piece progresses, different sections, etc.
The forms may show musical criteria¾beat, rhythm, pitch, major and minor, cadence, scales evolving through the whole piece, periodicity, build-up and relief of tension, nature of instruments, harmonies, strength of tone, pulse, piano movement, treatment of theme, interval mood, etc.
The most important aspect, however, is always the inner image, the inner nature of the piece that can shine through the form. As in music, the musical and eurythmic elements are but means for getting to this level. The “basic forms”, simple images on which these forms are based, are generally a key to this: Are there basic directions of movement, which way round do turns go, how does centre relate to periphery, where does the piece start and where does it end, is it a calm or a lively form, are there repetitions, which gesture arises? What does the form/the piece say in terms of soul and spirit, and how does this want to be visible in movement?
It is thus always instructive and most interesting to decode and interpret, and to consider the historical situation.
Stefan Hasler