The History of the Music

A couple of decades earlier a specialist in composing music for gymnastics, Rudolf Bode, had already stressed the importance of improvisation: "...for the teaching of gymnastics as far as it is accompanied by music, the ability to employ some improvisation, even though it be produced by the most simple means, is absolutely essential... Every kind of merely outer simulation must necessarily lead to monotony..." Obviously, Gurdjieff worked along the same lines and was on his guard for any premature fixations. Movements and music had to be alive. The truth of his work should present itself in an ongoing creative process, in an ever new and immaculate form in every moment.
For those who regard such processes as self-evident it will be useful to point out that an equal balance between music and dance is rare. Historically, one of the two would be dominant: either the music written to sustain the ballet, or the ballet fitted onto the existing music.
While performing Movements, one can experience sound in a totally new way, as if it illuminates one's inner life. A unique balance comes about in us; the music, the gestures and our inner aspirations become one and it is as if we enter a new place, one without walls, without time. At such a moment, we experience life in a way that will be difficult to forget.