George Gurdjieff (c. 1877–1949)
Pythia
No. 10
Prayer and Despair

Sayat-Nova (1712–1795)
Ashkharhes Me Panjara e

George Gurdjieff
Trembling Dervish
Introduction and Funeral Ceremony
Thirty Gestures

Sayat-Nova
Dard Mi Ani

Intermission

George Gurdjieff
Chant from a Holy Book
Oriental Dance
Sayyid Chant and Dance No. 41
Armenian Melody

Jivani (1846–1909)
Kankaravor Enker

George Gurdjieff
Caucasian Dance

Baghdasar Dbir (1683–1768)
Zartir

George Gurdjieff
The Great Prayer

Arrangements by Levon Eskenian

Born in what was then the Russian Empire and today is part of Armenia, George Ivanovich Gurdjieff was a composer, dance teacher, and one of the 20th century’s most influential spiritual figures. Seeking knowledge beyond what books could provide, he set out on extensive journeys across Armenia, the Caucasus, the Middle East, Iran, Egypt, Central Asia, India, and Tibet. Along the way, he immersed himself in the music, rituals, and traditions of diverse cultures, learning from fakirs, yogis, and monks. Through these transformative experiences, Gurdjieff developed a method known as “The Work,” a practice aimed at achieving the balanced development of body, emotions, and mind. This method was intended to awaken individuals from what Gurdjieff described as a state of “hypnotic waking sleep,” enabling them to realize their full potential and self-awareness. 

Gurdjieff’s music draws deeply from the cultures and spiritual traditions he encountered during his travels. His compositions, created in the 1920s, were dictated orally to his student, the Ukrainian-born composer and pianist Thomas de Hartmann, and are primarily piano-based. Our arrangements reimagine these compositions, adapting them for traditional Middle Eastern instruments. They present Gurdjieff’s music in its natural cultural context, enhancing its vibrant and authentic qualities. 

Since Gurdjieff’s father was an ashugh, an Armenian bard, and he was raised in an environment steeped in the ashugh tradition, this program also explores the broader heritage of Armenian bards. It features works by renowned ashughs such as Jivani, Baghdasar Dbir, and the legendary Sayat-Nova, situating Gurdjieff within this rich artistic lineage. 

***

The ashughs are artists who possess a deep understanding of the human condition and can convey spiritual truths through their music and poetry. The tradition of the poet-musicians known as gusans began in pre-Christian Armenia, continued in the Middle Ages, and in late medieval times was transformed into ashugh art, which has made significant contributions to the literary and musical heritage of the Caucasus and beyond. Sayat-Nova, a great master of this art, was a multifaceted artist who combined medieval Armenian lyric poetry and emerging oriental minstrel lyricism to create a new and vivid poetic style. His poems incorporated elements from ancient bardic traditions, folkloric tales, epic poetry, and Christian biblical and mythological allusions, as well as Sufi mysticism. He was appointed court ashugh by King Erekle II of Georgia. After being exiled from the court and country and sent to Persia, he became a priest, then a monk and moved to the monastery of Haghbat in Armenia. His influence cannot be understated, having had an impact on some of the greatest artists in the Caucasus for centuries. 

Dard Mi Ani (“Do Not Fret”) is a love song that blends poetry, storytelling, and music, written at a time when Sayat-Nova was a court musician. The poem explores universal themes of love, loss, and the search for spiritual fulfillment through its use of metaphor and allegory. In some of Sayat-Nova’s poetry, the idea of human love being elevated to the level of divine love is explored and celebrated. Ashkharhes Me Panjara e (“The World Is a Window”), a poetic song that captures the essence of Sayat-Nova’s spiritual quest, is a poignant reflection on the human condition and the search for meaning and purpose in life. 

Born almost a century and a half after Sayat-Nova, Jivani was a prominent singer and poet who wrote more than 800 songs in Armenian, covering romantic, ironic, and realistic styles. His works are characterized by their improvisational nature and sense of storytelling. Kankaravor Enker (“Friend of Talents”) explores the theme of jealousy and envy between friends, using vivid metaphors to convey its message. 

In addition to being a poet and musician, Baghdasar Dbir was also a scientist, publisher, and educator. Born in Constantinople during the Ottoman era, he was part of a large Armenian community that existed in the city in those times. His publications ranged from religious and theological literature to books on medieval history and social, religious, and moral issues. Zartir (“Awake”) fuses elements of ashugh and ancient liturgical music. The piece begins with the stirring words, “From your royal slumber, / Wake, my gracious one, wake. / The rays of the sun have reached you, / Wake, my gracious one, wake.” It may be interpreted as a metaphorical call to awaken from a spiritual slumber or state of unawareness. Throughout the poem, Dbir uses allegory to convey this idea, creating a sense of transcendence. 

The call to awaken resonates with Gurdjieff’s teachings on personal development and self-awareness. In today’s world, where the devastating impact of wars and environmental degradation caused by our disrespect towards nature is undeniable, we must recognize the often shallow priorities that govern our personal lives. Awakening can happen when there is self-observation. 

The program ends with Gurdjieff’s The Great Prayer. The source of the music is a monastery in Kashgar, one of the westernmost cities in today’s China, near the border of Kyrgyzstan. Kashgar has been at the confluence of four of the great civilizations of the world—namely, the ancient Chinese, ancient Indian, Christian, and Islamic civilizations. For millennia, the city was a key node on the Silk Road, connecting the Eastern and Western worlds. 

—Levon Eskenian