The Battle for the Spirit the Church and Rudolf Steiner

Shepherd, A.P.

Religion & Spirituality

Anastasi Ltd

Eurythmy: Its Birth and Development

Rudolf, Steiner

Business & Money

Eurythmy as Visible Speech, a lecture-course given in response to requests, presents the basic principles and methods of this new art of meaningful movement. The spiritual teacher Rudolf STEINER (1861-1925) links to the centuries-old central esoteric and exoteric Western tradition of the Word, the creative power in the sounds of the divine-human alphabet. The Johannine Logos-teaching of Creation (John 1) and Paul's doctrine "you are a letter... written on tablets of human hearts" (2 Cor 3:3) find concrete form and expression in the performing arts, in education and in therapy. This edition includes five further lectures and reports (complete) by Steiner, an Introduction and Index, copious Notes and Essays to the Lectures by Alan Stott, and five Appendices including 'Eurythmy and the English Language' by Annelies Davidson. From Rudolf Steiner's report on Eurythmy as Visible Speech: "In eurythmy the essence of the artistic element and its sources can be brought to visibility. This was especially borne in mind during the presentation of this lecture-course. Only someone who creatively unfolds a sense for art from an inner calling, an inner enthusiasm, can work as an artist in eurythmy. To manifest those possibilities of form and movement inherent in the human organisation, the soul must be inwardly completely occupied with art. This all-embracing character of eurythmy was the foundation for all that was presented." From the COMPANION: "For the poet, for the thinker, and for the movement artist who thinks with his/her whole body, the highest mental act is done with all their heart and with all their mind and with all their soul. The present compilation may also help to mediate between two semi-distinct parties: those artists whose busy lives are happily filled by rehearsals, teaching demands, and so on, and those involved in other activities-philosophy, literature, music, the visual arts, the dance, worship, meditation, education, medicine, therapies, and so on-who are enquiring about the background to, and relevance of, the expressive art of eurythmy. Perhaps most readers belong to both groups."-A.S.

EURYTHMY AS VISIBLE SPEECH

Arts & Photography

STEINER, RUDOLF

Music

A BOUNDARY STONE AND SOME BOUNDERS! The Adventures of Sam and Sarah and their Friends

Literature & Fiction

Suffolk, D A

Action & Adventure

Eurythmy as Visible Singing

The polymath Prof. HERMANN BECKH, Dr. jur. et phil. (1875-1937) is being rediscovered. This linguist, Orientalist and Christian priest - an active music-lover, who also wrote music - penned pioneer works on our musical system still respected by musicians and musicologists. Beckh also champions the music drama of Richard WAGNER. In The 'Parsifal' = Christ = Experience in Wagner's music drama - referring to Wagner's own letters and a most remarkable letter of Nietzsche - Beckh faces the deepest inner question of our time, identified by Wagner. In the poetic libretto and remarkable music of his final creation, Wagner presents the Grail legend and its imagery. The psychological drama and its ultimate solution is accessible to all those who reflect on their experience. Beckh's original insights bring a new and powerful light to the search for meaning of our age, for a knowledge of the heart. The reader meets the real Wagner, acknowledged by Bruckner himself as "the master".

The Parsifal=Christ=Experience in Wagner's music drama

Children's Books

Beckh, Hermann

Arts, Music & Photography

Johannes Steuck's work in stained glass and sculpture is extensive. This frank autobiography opens with the lives of his forebears, gives a window into W W II, Jewishness and being German. It describes the seemingly fated meeting of his parents in the Camphill Communities in Scotland, and his own arrival. White Sand and Grey Sand tells of the early days of Camphill, its pioneering community spirit, the small seeds of decay already present, its festivals and its colourful characters. Sometimes perhaps, he skirts close to the edge of what should be communicated, but in all fairness, this is balanced by humour and self-deprecation. Wynstones School is portrayed as it was in the 'sixties and 'seventies, with its extraordinary teachers dedicated to renewing education. Johannes describes boarding away from home at the age of nine, growing up, love, first travels, and the inevitable tension between the individual in a small self-contained community and the greater world. And in common with other creative individuals from minority groups, leading to tension and conscious absorption. Running through it all there is an enthusiasm for the world and its creatures, friendships and the beginnings of Johannes' development as an artist. This interesting and entertaining book should appeal both to the 'insider' and the general reader.

Johannes Steuck, White Sand and Grey Sand Autobiography

Biographies & Memoirs

Steuck, Johannes

Arts & Literature

This celebration of the life of Marguerite Lundgren traces her childhood in London through to her founding the London School of Eurythmy and the London Eurythmy Stage Group, together with her insight into the development of eurythmy in the English language. Marguerite had a deep connection with the movement within the sounds of English and English poetry. It was her life's work developing and transforming this into a visible "sounding" in her lessons and performances. For any eurythmist working with eurythmy in English, the section on the "English Sounds" and how to do them can be a great help in finding an approach which transcends mere spelling. As a personality, Marguerite was many-faceted and this comes alive in the many memories of her as a teacher, colleague and friend. These memories tell of a woman who inspired those with whom she worked and lived.  Melissa Harwood grew up in California and came to England in 1970. She studied at the London School of Eurythmy under the leadership of Marguerite Lundgren from 1972 - 1976 where she received her diploma in eurythmy. She joined the London Stage Group after her training and travelled with them performing in the U.K. and abroad. She also taught at the London Eurythmy School for fourteen years. Upon leaving the school and Stage Group she moved to London where she worked in the costume department at the Royal Opera House, London. She now works with eurythmy in organisations and has travelled extensively with this aspect of eurythmy as well as holding special courses for eurythmists. Melissa now lives in the Lake District where she also paints and sculpts.

Marguerite Lundgren Recollections of a Life in Eurythmy

Harwood, Melissa

Hermann BECKH - The Language of Tonality Why are musical works named by their keys: "Mass in B minor", "Symphony in D major", and so on? Can certain things be said best, or even "only", in certain keys? Can we hear the essence of a key? Are "subjective" and "objective" relevant, or is there a higher synthesis? How could the common chord express so much musical variety for over three centuries, and for some decades concentrated in one city, Vienna, in Central Europe?  Hermann BECKH's (1875-1937) tone-zodiac - by 1922, not the first to be suggested - is still respected almost a century on. With it, he explores the motivating power in our tonal system as lived - nobody's invention, so in no way a "theory". The author - acknowledged polymath who also wrote music - played on the piano all the music mentioned in this pioneer study. In his explanation of tonality as an organising, creative principle, Beckh cites music from Bach - effectively the father of tonality - concluding with Wagner's music dramas. Beckh's apparently unique perspective on Wagner is one excellent reason to re-visit him, and Beckh, too, because his tone-zodiac invites access into the workshop of creation. Beckh extends the concept of "music" and "musical". The profession of music is not challenged, but upheld - from within. To see music as "abstract", or deriving from sonic vibrations are both challenged. Through Beckh's holistic intuition, the reader is invited "backstage" to research creativity itself. There is a practical path beyond the restrictions of dualism, beyond all "feel-good" factors - whether of "Mozart", "Wagner", or any other - in order to research "what is".  In-depth researchers already recognise Prof. Dr Hermann Beckh as a pioneer; musicians and music-lovers will gain innumerable enriching insights and stimuli. But even more, in telling us least about himself, and without notating a single musical example, the author is able to tell us a very great deal about the personality - of his reader. Beckh on Beckh, and by his colleagues: "In all other respects I stand on the shoulders of my predecessors in scholarship, and my particular view of life I owe to Rudolf Steiner; but in music, I feel I am really breaking ground."  Steiner himself said of him in this respect,  "Beckh ventures into provinces which I have not yet had an opportunity of investigating myself. And there is a great deal in what Beckh says about them."  There are not many people of whom Rudolf Steiner would have made such a remark. (Alfred Heidenreich. 1938)

THE LANGUAGE OF TONALITY in the music of Bach to Bruckner

"Many ways could lead us closer to understand John's gospel. Alongside and with the Apocalypse   it is the most profound of all the documents of humanity,   with the most difficult content and   the one that carries most the future of humanity. Here we take the way that results from looking at the 'cosmic rhythm' in Mark's gospel. 'The gospel of Mark as the way to John; the gospel of John as the way to Christ' - so in all brevity and decisiveness runs the fundamental thought of this whole work, dedicated in its first part of Mark's gospel and beginning here the second part on John's gospel..." Thus Professor Beckh begins this uniquely original exposition - the sequel to Mark's Gospel: the Cosmic Rhythm. The unfolding story reads like a mystery drama, music drama and symphonic cycle - all within the covers of a two-volume work. Not surprisingly, then, like a musician who serves from the first note to the last, the author shows the revelation in the gospel. Hermann BECKH (1875-1937) is being re-discovered today. Even the term "polymath" is insufficient. This work has no sell-by date. As we approach the Centenary of the non-sectarian "Movement for Religious Renewal", we are in a better position today to appreciate who was at the spiritual helm. "In this monumental work, as the title suggests, another new aspect comes to the actual contemplation of the stars - the alchemical aspect. No chance connection! Novalis, with whose work Beckh knew deeply, had not for nothing significantly linked 'the stars' and 'the stones'. And so as a postlude of this book on John's gospel, in which the great question of transubstantiation precisely in connection with Johannine spirituality was discussed, appeared (1931) in his study on alchemy, Alchymie: the Mystery of the Material World-Dr Rudolf Frieling.

John's Gospel: The Cosmic Rhythm -Stars and Stones

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