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(XI.) HISTORY - Into the Twentieth Century

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Author Topic: (XI.) HISTORY - Into the Twentieth Century  (Read 2544 times)
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« Reply #30 on: August 19, 2007, 10:53:01 am »

On the other hand, Reagan's last national Security advisor General Colin Powell, had as part of his job to keep "the little green men" references out of Reagan's speeches. Reagan, as his speeches clearly show, was fond of the 1950 space-invader movie analogy that the world would unit if faced with an extraterrestrial invasion force. Powell feared that if Reagan kept raising the issue people, would actually start to believe aliens were invading.

Reagan actually managed to get a few of the references into speeches and Q&As about his fascination of aliens coming to earth and uniting all nations before we destroyed ourselves. Every time he raised this scenario (which Reagan called my " fantasy") in planning sessions, Powell reportedly rolled his eyes and would say to his staff, "Here comes the little green men again."

Other Reagan staffers had the jobs of protecting the White House from disclosures the President might make while answering questions from the public, particularly from children. The staffers had learned that Reagan, the consummate story teller, tended to let strange things slip out. As one staffer said, "The god-damnest things would come out of his mouth."

Reagan was known to be very open with children that he would meet after speeches given at various schools, or to groups of students touring the White House. Fearing he would disclose his interest in the paranormal, efforts were made to protect Reagan from young students who tended to ask questions about these subjects. Mike Deaver was known to veto Q & As with high school "on the theory that Reagan would be 'too loose' and speak too freely."

There was even a special role for the handlers to keep the students away from the president. Former White House presidential aide Judi Buckelew described this role:

"The staff was always trying to keep him away from these high school groups that would come in to

have their pictures taken, because he would stand around and answer all their questions, saying all

 kinds of things. The staff would literally tug him away from these kids."
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« Reply #31 on: August 19, 2007, 10:55:00 am »

The efforts to hide the paranormal and other strange beliefs of the president went as far as to clean up "his oral meanderings" before a text was released for public consumption." This practice, however, had to be cut out when the White House writers were caught altering an interview Reagan had given with the Wall Street Journal.

In this interview, done in 1985, Reagan began to talk about thoughts he had earlier in the morning concerning Armageddon, and how he agreed with many theologians who believed the prophecies were coming together. This idea of an impending upcoming Armageddon being spoken of by a leader with his finger on the nuclear button was too much for the White House handlers.

When the White House transcript of the interview was released publically, the references to Armageddon were gone.  The Wall Street Journal quickly exposed the omission, and the White House publicity people scrambled to explain   that the writers had "accidentally" omitted the references to Armegeddon Reagan had made.

It was, however, astrology for which Reagan will be remembered by the main stream press, because the White House could not contain the secret. They did however try, such as the time when a letter of congratulations was requested for Sydney Omarr two years prior to the media discovering the secret of Reagan's astrological counselors.

Omarr was celebrating 25 years of service as a columnist for the Los Angeles Times Syndicate. Larry Speakes, the President's Press Secretary requested that the congratulatory letter go out, so a draft of a letter was prepared in the White House by "LBK."  The original draft was stunning in its acceptance of the practice of astrology, and may have tipped off Reagan handlers that the letter had to be stopped. The main paragraph of the letter read:
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« Reply #32 on: August 19, 2007, 10:58:44 am »

"Your many friends and colleagues agree that yours is a career marked by dedication and achievement.

 By promoting a greater understanding and appreciation of astrology, you further the cause of science

 and inspire all stargazers to new levels of insight, discovery and exploration. You can take great pride

 in your work."

Prior to the letter being mailed the letter was stopped, and Omarr, although perhaps admired by the President, would not be publically congratulated. In a handwritten note found at the Reagan Library, a person by the name of Dan clearly spelled out what would happen next.

"Larry Speakes (per Charley Shepherd) will go along with decision not to do, but says that the lady

who made the request should be phoned. RCS suggests just to say 'message won't be forthcoming'

without getting into any explanations."

As far as the official government record went, that was the end of the Reagan public association with Sydney Omarr. That is until the 1988 astrology story broke and Omarr was interviewed.

Then the true story emerged. Although Omarr's people were told that a public statement would not be forthcoming from the White House praising Omarr for his 25 years with the Los Angeles Syndicate, Omarr was in fact congratulated by none other than Larry Speakes, who had according to the handwritten note from Dan agreed to go along with the plan to reject the Omarr request without explanation. The Associated Press story of May 4, 1988 told the story,

Omarr said that he has never consulted with Reagan, but received congratulations via a phone call from former White House spokesman Larry Speakes when Omarr noted his 25 years with the Los Angeles Time Syndicate.

I guess it goes to show that no secret can be kept forever.,_reagan,_and_astrology.htm
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« Reply #33 on: August 19, 2007, 11:06:55 am »



Ed Helin in Aspects, Summer, 1988:

"A graduate in law at the University of Pennsylvania, Carroll Righter was an attorney who originally set out to disprove astrology and ultimately became one of its most influential promotors. Righter was a student of Evangeline Adams, who guided him to relocate to the southwestern US so that he could enjoy better health and reduce the lung and respiratory problems that plagued him in the northeast.

"Righter had the first syndicated astrology column, and, with Sydney Omarr, who also wrote for the newspapers, their astrological columns were featured in over 500 daily newspapers nationwide. Righter and Omarr perhaps did the most this century to popularize astrology and pave the way for subsequent astrology columnists.

Righter settled in Hollywood and his clientele was like the Who's Who in film and political circles. Carroll Righter was Ronald Reagan's astrologer for 45 years. He was the initial astrologer to hire a press agent: his first was Robert Mitchum, who later carved his own niche on the silver screen.

"For 26 years, Righter ran a non-profit educational foundation and astrological school (the Carroll Righter Astrological Foundation), taught weekly classes in his home, and became known for exclusive monthly Sun sign parties featuring live animals or representatives of the sign being celebrated.

With Sydney Omarr, Manly Palmer Hall and Ivy Jacobson, Righter was honored by the AFA with a special award for astrological pioneering. The California State Legislature issued a proclamation signed by the governor and stating that Righter was the most influential astrologer of the 20th Century."
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« Reply #34 on: August 19, 2007, 11:13:40 am »

BIRTH AND DEATH DATA: AstroDatabank shows the following information, rated A, given by him to Angela Gallo. He was born on February 2, 1900, at 9:00 AM in Salem, NJ, 75W28; 39N34. He died of cancer on April 30, 1988 at 11:15 PM, in Santa Monica, CA, at the age of 88.

He was nicknamed "The Gregarious Aquarius" by the media, and it couldn't describe his chart better. He had a conjunction of Sun, Mercury, and Mars in Aquarius in the eleventh house. (His Moon, Venus, and Ascendant were conjunct in Pisces.)



Righter wrote mostly for laypeople. His books included Understanding Astrology and Astrology and Diet. Only one of them, Astrology and You is still in print and available at, none at AstroAmerica. A series of records featuring music Righter chose for each of the twelve signs is avilable at World Wide Wax.

The Righter-Reagan Connection
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« Reply #35 on: August 19, 2007, 11:17:49 am »

From Mercury Hour, October, 1988:

                                          THE PASSING OF AN ASTROLOGICAL GIANT


"It's ironic, and quite coincidental, that on the same day as the announcement of Carroll Righter's death, the media published reports (according to statements made in Donald Regan's book) that the President was interested in Astrology and might have used it to determine the most propitious times to initiate certain activities. The ensuing flap over whether Pres. Reagan used Astrology brought our craft into the forefront of national attention.

"Of course, most people here in Hollywood have at some time or another sought the advice of an astrologer, so for anyone to think that a former movie star was unfamiliar with "the science of the stars" is about as insane as thinking that a stock market analyst had never read a financial prediction or forecast.

"The Dean of American Astrologers, Carroll Righter, met Evangeline Adams in his Youth, she told had the perfect chart for an astrologer, but he continued his law studies until a sporting accident nearly ended his life.

"Seeing that he had the ruler of his Sun sign (Uranus) and the ruler of his M.C. (Jupiter) in the eighth house of his chart, he decided to relocate to Los Angeles in 1939 where he set up shop doing charts for many people in the entertainment industry. At this time his progressed M.C. was 6 Aquarius, sextile Jupiter in the 9th and approaching a conjunction of natal Mercury. After a prediction made to Marlene Dietrich proved accurate, his clientele increased immeasurably and before long he was the "astrologer to the stars."

"Names like Arlene Dahl and Robert Cummings sought his advice, and even President Ronald Reagan mentioned him in his autobiography. I've been to Righter's house and there was a picture of Righter and Reagan on his piano.

"It's possible that Righter was the source for the Cancer rising chart for Reagan published many years ago (shown in Sabian Symbols) giving a birth time close to 2 p.m., as corroborated by Anne Edward's book "Early Reagan" wherein she alludes to a birth time in the early afternoon.

"Righter began writing his famous Astrology column in 1951. He always said "the stars impel, they don't compel," the title of one of his more appealing books. Righter held weekly study sessions at his home here in Hollywood, as he had done for the past 25 years. I met many of my friends here in town there on Tuesday nights. The first hour when I first attended back in 1973 was on Mundane or Horary Astrology taught by John Bradford, an expert in Financial Astrology.

 "The second hour was Righter's court appearance. Sitting in an old chair at the head of the living room, he lectured on the up coming transits for the following week, giving extra consideration to the movement of the Moon. The third hour was mainly on delineation of famous people taught by Robert Skeetz, a local astrologer who also writes for a Beverly Hills newspaper. I met many interesting people at these meetings over the years, namely Victoria Shaw, an actress who now lives in Australia who became my best female friend here in town, and Bob Skeetz who gave me my first copy of the Nadi System of Rectification.

"From evidence in Regan's book and other astrologers around town, Reagan did use Astrology during his career. If he used the information wisely (which it appears that he did), then it can be to the favor of the a strologer who advised him, be it Righter or another astrologer in Washington. It's well-known that Lincoln sought the services of a psychic in the White House and held several seances during his term. Teddy Roosevelt kept a chart of himself on his desk and Franklin Roosevelt once sought the advice of Jeanne Dixon, the famous psychic. Kennedy should have listened to the astrologers who felt that he should never have gone to Dallas. Who knows what the world would be like today if he had listened?

"Even if Righter didn't gain the respect or attention world wide that he might have desired, the flap

over whether the President used Astrology certainly gave Righter's craft the attention he could never

acquire in life. Righter paved the ground for other astrological columnists like Sidney Omarr, Joyce

Jillson and Jeane Dixon. Without Righter's great luck and powerful following our craft might still be in the dark

recesses of history."
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« Reply #36 on: August 19, 2007, 11:35:03 am »

                                               C A R R O L L   R I G H T E R

Carroll Righter (February 2, 1900-April 30, 1988) was known as the "astrologer to the stars." He wrote a syndicated daily advice column for 166 newspapers around the world, and was reputed to be an advisor to Ronald and Nancy Reagan. Righter, who liked to be called the "gregarious Aquarius,' began doing charts for Hollywood notables in 1938 and became a columnist in 1950.

Mr. Righter was mentioned in President Reagan's 1965 autobiography, Where's The Rest Of Me? and according to former White House Chief of Staff Donald T. Regan, Mrs. Reagan turned to astrologers to help determine the president's schedule.[1] Asked specifically whether he believed in astrology, President Reagan said, "I don't guide my life by it" but he added, "I don't know enough about it to say, is there something to it or not...and I don't mean to offend anyone who does believe in it, or engages in it."

 When Righter was asked in 1985 if he consulted with Ronald Reagan on astrology, he replied, "No comment."

Mr. Righter claimed he warned Marlene Dietrich to avoid working on a studio set one day because she might get hurt. His advice was not heeded and Dietrich broke an ankle while reaching out to save a falling child. Word of the accident and Mr. Righter's advice led other celebrities to the astrologer's Hollywood doorstep, ensuring his fame. Among those who sought his advice were Arlene Dahl, Rhonda Fleming, Jane Withers, Joan Fontaine and Grace Kelly.

Mr. Righter also wrote several books, including Astrology and You, the Astrological Guide to Health and Diet and the Astrological Guide to Marriage and Family Relations".


^ "Astrologer to Hollywood Stars, Carroll Richter dies at 88", The Dallas Morning News, May 4, 1988. Retrieved on August 4, 2006. 

^ "President Won't Judge Astrology", Albany (N.Y.)Times Union, May 18, 1988. Retrieved on August 4, 2006. 

^ "Nancy's in Good Company Astrology Has Followers in High Places", San Francisco Chronicle, May 4, 1988. Retrieved on August 4, 2006. 

^ "C Righter, Astrologist To Stars", Sun-Sentinel, May 4, 1988. Retrieved on August 4, 2006.
^ "Daily Columnist Carroll Righter, 88 An Astrologer to Hollywood Stars", Newsday, May 4, 1988. Retrieved on August 4, 2006. 

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« Reply #37 on: August 19, 2007, 12:10:23 pm »

                                                    D A N E    R U D H Y A R

DANE RUDHYAR was born Daniel Chennevière, of Celtic and Norman ancestry, on 23 March 1895 in Paris, France. His birth name was given up in 1917, a few months after reaching New York. He had a sister, lost his father in 1911 and his mother in 1954.

Paris 1907.  Aged 12

Rudhyar began playing piano at age seven, and started composing for the piano in 1912. The surgical removal of a kidney at age thirteen exempted him in 1914 from military service, actually saving his life as the regiment he would have joined was completely wiped out in the 1914 French retreat from the Marne. He received a bachelors degree in philosophy from the Sorbonne at age sixteen.
      At age sixteen, Rudhyar first realized two things which conditioned his entire life and work: (1) Time is cyclic, and cyclicity governs civilizations as well as all aspects of existence; (2) Western civilization is coming to what could be symbolically called the autumn phase of its cycle of existence. Such realizations, which were largely spontaneous and intuitive (though influenced by his reading of Nietzsche), made Rudhyar feel the urge to divorce himself from Europe and to seek a "New World" — a land where he could sow himself as a seed, carrying within his being the harvest of whatever was viable and constructive in the European past. The ideal of the "seed man" thus rose in his consciousness, dominating his thinking and his actual living.
      His first book, Claude Debussy et son oevre, was published by Durand of Paris in the spring 1913, together with three short piano compositions. The book was intended to be titled Claude Debussy and the Cycle of Musical Civilization, and in addition to biographical information on Debussy it contained Rudhyar's ideas about time, cycles, and the development of music. However, the publisher deleted the philosophical and historical parts and gave the remaining biographical sketch a new title. For a while he attempted law study, but gave it up, becoming a regular contributor to Le Revue, which, along with looking older than his mere seventeen years, opened many doors for him in the avant-garde world. Later, he acted as secretary to the famous sculptor Auguste Rodin.
       In 1913 Rudhyar witnessed the premiere performance of Stravinsky's Sacre du Printemps. In that year he began an association with two highly creative personalities — Valentine de Saint-Point and a young man named Vivian Postel Du Mas — involved in a futuristic form of multimedia performance art, an abstract synthesis of dance-motion, poetry, music, geometrical form, color and perfume, known as Métachorie (meta dance). A controversial and outspoken personality, Ms. de Saint-Point is today recognized as the prototypical female performance artist.
      Rudhyar had written several short orchestral scores, now lost, for Métachorie in 1914 — Trois Poëmes Ironiques and Vision Végétale — and eventually a performance was arranged for New York.
      Due to wartime U-boat activity in the North Atlantic, Rudhyar, along with Ms. Saint-Point and Vivian, had to

first travel to Spain, where they embarked for New York during November 1916. The photo above shows Rudhyar in Spain while waiting passage to America.
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« Reply #38 on: August 19, 2007, 12:13:18 pm »

In the New World: 1917-1919

A gala performance of Métachorie was eventually arranged at the New York Metropolitan Opera for April 4, 1917. Pierre Monteux conducted the full orchestra, including a Prelude by Erik Satie orchestrated by Rudhyar as well as Rudhyar's original compositions. This was the first performance of dissonant polytonal music in America. The fact that it occurred virtually the night America entered World War I completely eclipsed any cultural impact it might have had.

      During the summer 1917 Rudhyar lived in destitution, passing most of his days at the New York Public Library. He read books on Oriental music, Oriental philosophy, Rosicrucianism and Alchemy. Two Japanese artists, Kawashima (a painter of lacquered screens) and Sensaki, who later became the Zen master Saski Roshi, introduced him to Buddhism. He became close friends with Carlos Salzedo, the composer-harpist, and the avant-garde composer Edgard Varése. On Christmas Eve 1917, with thirty-five cents in his pocket and a small trunk of clothes, and still not in command of the English language, he left his Parisian associates, whose ways of thinking and living he came to realize were diametrically opposite to his.

Toronto, 1917.  Age 22

       He was able to reach Canada, where he stayed in Toronto with the pianist Djane Lavoie Herz and her husband Sigfried, and later in Montreal with Alfred Laliberté, a close pupil of Scriabin. It was then that he came in touch with both the theosophical teachings of H.P. Blavatsky and the music of Scriabin's. Rudhyar composed a book of French poems, Rhapsodies (published in Toronto 1918) and recited them to private groups there and in Philadelphia to the Art Alliance. The summers 1917-1918 were passed in Seal Harbor, Maine (pictured). There he met Salzedo, Stokowski, Hoffman, Gabrilowitch and many musicians who, unable to reach Europe during wartime, had found refuge at Seal Harbor.

During the winter season 1918-19, Rudhyar saw a great deal of Leopold Stokowski, and was given access to the Stokowski's orchestra rehearsals. Stokowski introduced him to a remarkable pioneering woman, Christine Wetherill

Stevenson (pictured). A prominent Theosophist and an heiress, Mrs. Stevenson had begun the Little Theater movement and the Art Alliance a few years before. Winter 1919 saw Rudhyar in Philadelphia under the sponsorship of Mrs. Stevenson.   There he composed his early orchestral work Soul Fire, which won him in 1922 a $1,000 prize from the newly formed Los Angeles Philharmonic (Rothwell conductor). He wrote a cycle of piano pieces, Mosaics, related to episodes in the life of Jesus, and short preludes, Ravishments, the best of which were later integrated in other works. During this productive musical period he also composed Trois Poëmes Tragique for contralto. Rudhyar continued writing French poems, as well as unpublished essays on the Bahai Movement and social organization. It was then that he first developed his ideas for a new global civilization and for a humanity unified in what he called The Synanthropy. Rudhyar even made sketchy plans for a world city, somewhat resembling those for Auroville, built during the second half of the 20th century near Pondicherry, India, by the Sri Aurobindo Ashram.

      The Philadelphia period was crucial for Rudhyar's inner development, a true "dark night of the soul." His rejection of his ancestral name in 1917 reached deeper levels of the psyche, a death-rebirth process. The change of name was a necessity and a manifestation of the same type of resolve as the dedication of a monk or a Hindu swami to the service of a religious ideal. Rudhyar not only left physically his native land and the language of his ancestral French culture, he turned his back on the implications and patterns of the whole Western tradition, and sought to uproot from his psyche the negative, dualistic and spiritually crystallized aspects. His birth name was a symbol of all this past, and he dedicated himself as a "seed man" to a future which as yet he could but dimly envision. The name "Rudhyar" is close to old Sanskrit terms implying dynamic action, the color red (he was born with the Sun in Aries, a zodiacal sign related to the red planet, Mars) and the electric power released during storms — the "god" Rudra. The first name, Dane, had to be added for legal requirements when he became an American citizen in 1926; but all his true friends called him Rudhyar.
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« Reply #39 on: August 19, 2007, 12:16:07 pm »


The Early Hollywood Years: 1920-1924 

Rudhyar emerged into a new world of feeling and consciousness when through Mrs. Stevenson's sponsorship he was able to reach Hollywood on 1 January 1920. The next morning he met the great Theosophist B. P. Wadia, with whom he formed a close association. "In Philadelphia," Rudhyar states, "I met Mr. Warrington, then the head of the American Theosophical Society, when he lectured in the mansion built by Mrs. Stevenson’s father, a 19th-century copper magnate. When I reached Krotona in the Hollywood Hills, then the American Theosophical headquarters, I took a room nearby, and on January 2nd at breakfast Mr. Warrington greeted me warmly and introduced me to Mr. B. P. Wadia, who had just arrived in America after representing at the League of Nations the nascent Indian Labor Movement, which he initiated, leading a strike in Madras. Wadia was then the ‘right hand’ of Mrs. Annie Besant, then the president of the Theosophical Society. He was the manager of the Theosophical Publishing House and the editor of The Theosophist in which he soon printed my first article written in English, Inertia and the Mystery of Evil."

      "A series of remarkable lectures," Rudhyar continues, "Wadia gave during the winter of 1922 in Hollywood on The Secret Doctrine stimulated me to study HPB’s monumental work further. For quite a long time, I gave to this study a couple hours every morning. I was particularly fascinated by the constant reference to cycles, because, when I was only sixteen in Paris, I had had an intuitive realization that all life processes and the very essence of ‘Time’ were cyclic."

      The 1920s were Hollywood's great days, and Mrs. Stevenson had beautiful plans for dedicating the hills to creative and spiritual activities. She had produced a Life of Buddha on the grounds of the Theosophical Society headquarters, Krotona, in the Hollywood Hills. Walter Hampden and Ruth St. Denis performing the main roles. Later she decided to produce a Life of Christ and commissioned Rudhyar to write scenic music for it. But her Hollywood associates, and even the President of the American Theosophical Society, Mr. Warrington, could not share her vision. Disappointed, she gave up the idea of using the Bowl property (which she had purchased for $40,000 with Mrs. Chauncey Clarke — Marie Rankin Clarke) and bought the adjacent hills for the same price. There she built an amphitheater (now the John Anson Ford Amphitheatre) and during the summer of 1920 The Life of Christ was first performed. Unfortunately, Mrs. Stevenson soon died in mysterious circumstances (1922-23) while she was preparing to produce a Life of St. Francis of Assisi. She had made Rudhyar her musical director.

      It was in 1920 while living in a cottage near the Krotona Theosophical headquarters and having befriended a Dutch woman, Mrs. Van Vliet who was deeply interested in music, theosophy and astrology, that Rudhyar decided to investigate astrology and learn its techniques - classes being provided free. At Krotona he also met Alice Bailey, who later founded the Arcane School and the Lucis Publishing Company, which published his first books on astrology, The Astrology of Personality (1936) and New Mansions for New Men (1938). During 1920 he also began a close friendship with a remarkable woman, Aryel Darma, who brought him inwardly closer to spiritual realities. His association with the great Parsi Theosophist, B. P. Wadia had likewise a determining influence, leading him to a thorough study of H. P. Blavatsky's Secret Doctrine. Through these prolonged contacts Rudhyar's mind emerged in a rebirth of understanding and clarity of vision. What had been almost prophetic intuition in 1911 became developed, stabilized and fully creative ten years later in Hollywood.

Rudhyar - The Theosophical Mystery


B. P. Wadia (pictured above, evidently recognized Rudhyar's destiny and believed he had a special role to play in the Theosophical Movement, and perhaps Wadia also saw in Rudhyar an opportunity to somehow compensate for the manner in which Annie Besant was at the time promoting Krishnamurti as the vehicle of the coming Maitreya. Wadia undoubtedly felt indirectly responsible for the Krishnamurti situation because of the little known fact that it was he who first recognized something "special" about the boy, to whom he later brought to the attention of C. W. Leadbeater.

     By 1923 Wadia broke with Mrs. Besant and her Adyar arm of the Theosophical Movement. Immediately afterwards he became the prime-mover of the United Lodge of Theosophists. Wadia passed away in 1958.

      Rudhyar continued composing. He came to New York for the 1922-23 season and performed some of his piano compositions at a concert for the International Composers Guild, of which he was an original member. He was also a founder of the New Music Society, initiated by Henry Cowell. Rudhyar's Surge of Fire was performed in Los Angeles at the first concert of the New Music Society, October 1925, and later on in New York. A performance took place at the California Institute of the Arts in May 1971, James Tenney conductor. In addition to composing and studying, Rudhyar was beginning to be a prolific writer of articles, now in English. Articles on Erik Satie and on Stravinsky were published in the April and October 1919 issues of The Musical Quarterly. In his article The Relativity of Our Musical Conceptions Rudhyar began championing Oriental music and wrote of future non-European types of music. He also provided material for Salzedo's magazine Eolus, for theosophical publications, and for the Christian Science Monitor.

JAVARTAM - Java Art in America
The shop at 7020 Hollywood Blvd., operated by Aryel Darma (pictured in the center, left) and Rudhyar. Aryel was an associate of Wadia's, and the two had already established a close friendship before Wadia first visited America in 1919. Like Rudhyar, during the 1920s Aryel acted on the silent screen, having a starring role in the highly-rated 1926 film The Smoke Eaters and a supporting role in The Show Girl, 1927. After the destruction of the shop by fire, she was forced to return to Holland, where she had hoped to find success acting in Dutch and German films. Instead, Aryel passed away in 1928.
      By the late-1920s Wadia was traveling a great deal, founding many new theosophical lodges. When he finally returned to India, around the time of Aryel's passing, Rudhyar passed though a period of psychic and spiritual aloneness, but soon emerged into a broader sphere of activity.

Rudhyar worked with his friend Aryel Darma, who had lived in Java, in creating a store, Javartam, which brought for the first time all kinds of Indonesian art-products, batiks, and other artifacts to America. Unfortunately, the store at 7020 Hollywood Blvd. and most of its contents were destroyed by a fire originating in an adjoining Russian restaurant. During this time Rudhyar also played bit parts and supporting roles in motion pictures, and for seven months acted as the Christ in Grauman's Theater prologue for the first version of The Ten Commandments by C. B. de Mille (1924). Rudhyar also appeared as the Christ in de Mille's 1924 silent version of The Ten Commandments, and had a supporting role in Alan Crosland's 1924 film, Three Weeks. He was also involved in an attempt at creating a Little Film Movement; and with a friend planned to develop "Introfilms" — films which would depict inner psychological states through series of images. These attempts — also one at creating a World-Music Society, and another in 1924 , Hamsa Publications, dedicated to the building of a new American culture — were totally abortive, being far ahead of the times.

      Rudhyar, who in 1924 had not composed for two years, instead writing essays and studying Hindu music from books and through his friendship with singer and dancer Ragini Devi (an American women who would go on to become one of the most renown and respected dancers of India) began a new musical phase that year with the composition of the Moments. These were originally 22 tone-poems broadly associated in principle with the Tarot cards. They were published by Birchard (Boston) in 1930 as three books of five pieces each. These constitute now the four Pentagrams (I. The Coming Forth, 2. The Enfolding, 3. The Release, 4. The Human Way). Later on a series of works called Tetragrams were composed, the last one in 1968. There are now nine Tetragrams, each including four short sections (I. The Quest-1920, 2. Crucifixion-1926, 3. Rebirth-1927, 4. Adolescence-1925, 5. Solitude-1927, 6. Emergence-1929, 7. Tendrils-1924, 8. Primavera-1928, 9. Summer Nights-1968).
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« Reply #40 on: August 19, 2007, 12:19:37 pm »

NEW YORK. 1925

Expanding Horizons: 1925-1929

Rudhyar went back and forth between New York and Hollywood during the years 1922, 1925, 1926, 1928, 1929 and 1930. During 1926 at the Yaddo Colony in upstate New York he completed the Moments. He continued writing articles, poems and music. The three Paeans were composed in 1925, Five Stanzas and Ouranos in 1927. In 1925 Rudhyar wrote a book entitled The Rediscovery of Music. Knopf was at first interested in the project, but found the finished manuscript impossible to sell. Other publishers agreed.
      During this period Rudhyar became a musical associate and friend of Martha Graham, the Mother of Modern Dance, a close contemporary who he had first met while she was a member of the dance company of Ruth St. Denis and Ted Shawn in Hollywood. Rudhyar played piano improvisations for the rehearsals of some of Martha Graham’s earliest dance compositions, and in many ways her early work in dance paralleled Rudhyar's musical work.

Rudhyar's Dance Connection

From the beginning, Rudhyar's destiny brought him in close contact and collaboration with some of the most important and influential female dancers of the 20th Century. First there was VSP - Valentine de Saint-Point - the prototypic multimedia performance artist, who in her later years went to Egypt and became a Sufi. Then came Ruth St. Denis, little remembered today, but during the early-20th Century she was as famous as Isadora Duncan.

     During her early years, Martha Graham and Rudhyar were so complementary - one in dance, the other in music - that they even looked alike, and Rudhyar improvised at the piano for the rehearsals of her earliest performed works. Rania, the heroine of his first novel, was also a woman of dance, whose movements possessed a magical force. In the late-1920s, Rudhyar also provided music for some of Doris Humphrey's dances. And, As we'll soon learn, Rudhyar's second wife, Eya Fechin, was a professional dancer and an early proponent of Psychodrama.

     Rudhyar was also a friend of Srimati Ragini Devi, who in the 1920s encouraged him to write The Rebirth of Hindu Music. Named after the Vedic goddess of dance, this American woman left her well-placed husband, studied Indian music and dance, married an Indian man (with whom she bore Indirian, who became a famous dancer in her own right), and went on become a legendary figure, reviving the classical dance of India.

     As is the case with other areas of Rudhyar's personality and destiny, it's best not to over-analyze Rudhyar's connection with dance and dancers. But it doesn't take the intrepid researcher long to discover a mythological


In the accompanying original watercolor by Promode Chatterjee, the Hindu deity Shiva, of which Rudra is a manifestation, is seated on a leopard skin, playing the harmony of the universe on a transcendent instrument made partly of a human skull. His son Ganesha accompanies him on the drum, beating out the rhythm of the cosmic pulse. By this divine invocation the goddess of dance and music, Ragini Devi, is brought into manifestation.

      In 1927 Rudhyar began a new phase of his career, giving many lecture-recitals on modern music, as well as a series of talks on Oriental religions and philosophy. His first book of English poems Toward Man was published in Carmel, California in 1928. Other volumes of poetry were also written, a selection from which was published later under the title Of Vibrancy and Peace. White Thunder was published as a deluxe edition in Santa Fe, N. M. during 1938.

      In 1928 To The Real in three sections was completed by the addition of a second movement and orchestrated. It was performed in Paris by Nicolas Slonimsky. Sinfonietta was also orchestrated at that time, and later performed in Washington D. C., and recorded in Germany.

      That year Rudhyar lectured many times in Carmel, Los Angeles and Chicago. He also began a series of booklets under the general title of Seed Ideas, printed in Halcyon, California where in 1920 he had met Henry Cowell at the Temple of the People. Seven of these booklets were bound and published under the title Art as Release of Power. A second series began late in 1929, but only two were published.

Rania - Rudhyar's Epic Narrative

"RANIA is an epic narrative of the evolution of a woman's soul. It is the heroic pilgrimage of woman's being, exalted and enslaved, possessed and discarded, struggling for freedom. This is Rania's tortuous search for spiritual strength, ultimately sustaining her in her final battle with the powers of Darkness." So reads the back cover notes from the 1973 Unity Press edition of Rania.

     In his Preface, Rudhyar writes that Rania is "the story of a strong and unusual woman's life filled with extremes of light and darkness, of beauty and tragedy. I conceived this work as a kind of symphonic narrative in three movements. I emphasized the poetic-musical form by writing at first short stanza-like paragraphs, then, as the action became less tense and precipitated, increasing the length of these stanzas. The second part of the symphonic-narrative the action slows down, and the stanza-form is no longer needed. It reappears in the third part which ends with a recall of the initial heroic theme of the sacrifice of the seed. In RANIA the action is condensed, often stark, moving from high-point to high-point - today one would probably speak of "peak-experiences." The characters are projected on the background of social or natural landscapes which are broadly drawn and essentailized.

     Many of the work's scenes, themes and characters were drawn from Rudhyar's experiences in Hollywood and Carmel, and the leading characters are based loosely on his spiritual friends Aryel Darma and B.P. Wadia.

      During January 1929 in Chicago, Rudhyar wrote Rania: An Epic Narrative. The manuscript was presented repeatedly to publishers who declined to publish it because it was too unusual a work, half poem, half novel. In March 1972 it was read by James Shere in several installments at the radio station KPFA Berkeley, during a month dedicated to the broadcasting of works by Rudhyar, interviews, comments, music, and other work. Rania was eventually published by Stephen Levine's Unity Press in 1973.
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« Reply #41 on: August 19, 2007, 12:22:41 pm »


New Opportunities: 1930-1936

Rudhyar passed the winter 1930 in New York, working on various projects and articles. Lectures were given at the Roerich Institute. In June Rudhyar married Malya Contento, who he had met through Will Levington Comfort. The booklet Paths To The Fire was published during September 1930, stating in original terms occult concepts relating to the cyclic evolution of mankind. During the winter 1931 Rudhyar wrote a mimeographed course Liberation Through Sound which incorporated in a different way some of the ideas already formulated in the book The Rediscovery of Music. It showed how a musical culture can be characterized by the basic intervals which it uses. Hindu, Chinese, Pythagorean European musics (in the plural) were treated in-depth, and related to states of consciousness applicable to the development of the individual. A series of lectures were given in Boston and for the music school of the Henry Street Settlement in New York.

Rudhyar and his first wife, Malya Contento

     After his marriage, Rudhyar met the philosopher, occultist, astrologer Marc Edmund Jones, whose astrology classes Malya attended. Marc Jones gave Rudhyar mimeographed courses on astrology which he was sending to members of his group, The Sabian Assembly. These were quite remarkable courses presenting astrology in far more sound and deeply philosophical light than had ever been available. Rudhyar had kept his interest in astrology and occasionally had interpreted charts for inquiring friends; but the MEJ courses showed him how much wider the scope of astrological thinking could be. Although Rudhyar had already written on "A Philosophy of Operative Wholeness," it wasn't until this period that he became aware of and deeply interested in Jan Smuts' Holism and Evolution, a remarkable work that carried further and in a new way the ideas of the French philosopher, Bergson, whom Rudhyar had studied in Paris. Carl Jung's depth-psychology also attracted his attention in 1932 and especially during the summer 1933, while Rudhyar stayed as a guest on the ranch of Mary Tudor Garland in New Mexico.

      All these influences began to act upon Rudhyar's mind and he saw the possibility of working out a practical as well as conceptual synthesis under the title of Harmonic Astrology. Astrology's place in this synthesis was seen as a means to demonstrate in a concrete and effective way the workings of cyclic and holistic patterns in the lives of individuals and nations — as a personalized application of his philosophical and psychological concepts. It implied no fundamental break with the more esoteric and archetypal approach he had held under the influence of Blavatsky's momentous works, but rather an anchoring of the basic concepts of occult philosophy to the level of the everyday existence. This enabled him to get in much closer touch with the reactions and aspirations of people who, intuitively if not clearly, could respond to his ideas.

      An unexpected opportunity to reach a vast American public came in 1932 and especially 1933 when Paul Clancy, originator of American Astrology Magazine, became enthusiastic about Rudhyar's ideas and plans. Clancy more than anyone else, is responsible for the popularization of astrology, not only in the USA, but all over the world. His first magazine failed in 1932, but he start another again in 1933. Rudhyar's articles began to appear in Clancy's very small magazine. In 1934 a large distributor placed American Astrology on many newstands, and its phenomenal growth began at once. Paul Clancy requested more and more articles, and Rudhyar began to write two or three long astrological articles monthly for the magazine, providing him, for the first time, with a regular and dependable income.

The Sabian Symbol Connection

The Sabian Symbols are a set of 360 symbolic images, each symbol depicting a particular degree of the zodiac. For instance, AN UNSEALED LETTER is the symbolic image for the thirtieth degree of Leo. Although Rudhyar had no role in their clairvoyant discovery in 1925, in the minds of astrologers today Rudhyar, more than anyone else, is most closely linked with the Sabian Symbols. The close identification of the Symbols with Rudhyar has a twofold foundation. Firstly, he was responsible for first bringing them to the attention of the general public by publishing a condensed version of the Symbols in his first astrological book, The Astrology of Personality. Secondly, his 1973 reinterpretation of the Sabian Symbols, An Astrological Mandala has been the principal volume on the Symbols since its publication.

      Gavin Kent McClung, a personal friend and student of Marc Jones, states in his article The Prophetic Sabian Symbols, that "after Marc Edmund Jones and the clairvoyant Elsie Wheeler discovered the Sabian symbols, Jones placed in storage the cards on which they were recorded. He felt that making scientific use of the symbols in astrology might not be possible. At the time (the mid-1920s), Jones and others were involved in the scientific reorganization of astrology itself, and in various types of occult investigation.

      "When he came to realize that it might never again be possible to re-create the situation that had allowed the original discovery of the Sabian symbols, Jones decided to publish them. In 1931, the symbols became available to students in a mimeographed series of lessons called 'Symbolical Astrology', which included interpretive vignettes for each degree, together with elaborated versions of the images originally obtained through Elsie Wheeler's special gift.

      "At that time, Dane Rudhyar became interested in the symbols. He saw their potential, and in 1936 brought them to wider attention in the world of astrology by including a condensed version in his book The Astrology of Personality."

      Rudhyar soon started an enormous astrological production spanning decades. New astrological magazines appeared, and their editors asked Rudhyar for regular contributions. Soon Rudhyar wrote under pseudonyms, and over the next four decades he contributed literally thousands of articles on all kinds of topics, more or less related to astrology — articles dealing with astrology, philosophy, world-affairs and celebrities in all fields. Alice Bailey, after reading Rudhyar's 1934 articles, urged him to collect and amplify them in a book which her Lucis Publishing Company agreed to publish. And so was born in 1936 the now famous Astrology of Personality, which Paul Clancy greeted as "the greatest forward step in astrology since the time of Ptolemy. It represents the birth of a new epoch."

      So began Rudhyar's astrological career which astounded and shocked many of his older friends at a time when "thinking people" generally regarded astrology as an archaic superstition. Forty years later, during the late-1960s, the situation greatly changed, and Rudhyar at long last came into his own. His musical work had faced strong opposition from composers who had become devotees of Stravinsky's Neo-Classicism, following the end of World War I and Stravinsky's forced exile from Russia. Rudhyar opposed this neoclassical and formalistic trend which enthroned the ideals and patterns of European classicism, of the supremacy of pope and king. He pointed out, at a time when an outcry against Fascism swept over the intelligentsia and young musicians, dancers and artists, that the music of the 17th and 18th centuries was actually the expression of a culture which was based on a Fascistic type of social order. He showed how the C major scale and the rule of the tonic were symbolic of the very things against which the devotee of Neo-classicisrn were emotionally fighting. This closed to him many doors, especially those leading to foundation grants. Thus the new opening along astrological lines came out at the right time; for the Great Depression and the Income Tax were making it extremely difficult to enlist the interest and patronage of wealthy music lovers.
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« Reply #42 on: August 19, 2007, 12:26:02 pm »


The Discovery of Painting: 1937-1944

During the late-thirties Rudhyar continued composing poetry, including the three long Apocalyptic Poems. His musical compositions from this period include the sections of Syntony for the piano now called Oracle and Eclogue, and sketches unfinished for an orchestral rendition, with recitation, of his long poem Paean To The Great Thunder. Many lectures were given in New Mexico, New York, San Francisco and Hollywood. In 1937 in Italy he joined Malya, who was returning ill after six months in India. While there he met and befriended psychologist Roberto Assagioli. In 1939 he started a Foundation for Human Integration which, for many reasons, was never fully developed.

      During 1938 and 1939, while passing alone the summers in Santa Fe, New Mexico, Rudhyar began a new aspect of his public life. He began to paint and his work very soon attracted the interest of New Mexico painters and his works were exhibited in Santa Fe, Albuquerque, Phoenix and Ojai, California.

      This new creative outlet was very significant, for there is a great difference between hearing (and this meant then exclusively playing at the piano) one's music extended in time, and being able to contemplate quietly and effortlessly one's paintings extended in space. Rudhyar found that the new esthetic experiences opened a new level of consciousness and he enjoyed it greatly. But circumstances did not allow him to paint as much as he would like. He nevertheless participated with Raymond Jonson and others in the formation of The Transcendental Painting Group, and the use of the term, transcendental, was his suggestion. A Transcendental Painting Foundation was started of which he became the vice-president. Rudhyar wrote the movement's manifesto, and an unpublished work entitled The Transcendental Movement in Painting. The latter treated not only painting, but other kinds of transcendental artistic endeavors, such as the dance of Martha Graham.

Rudhyar and the Transcendental Painting Group

The Transcendental Paint Group was founded by several non-objective artists struggling to establish abstract and non-objective art in America. The group included Raymond Jonson, Emil Bisttram, Lawren Harris, Alfred Morang, Agnes Pelton, Ed Garman, Horace Pierce, Dane Rudhyar and others. While many members shared an interest in theosophy and mysticism, and were inspired by the work of Wassily Kandinsky, mundane factors, such as needs for work space, exhibitions and publicity, actually brought the group together.

     The Santa Fe Transcendental Painting Group is featured in the recent book Kandinsky and the American Avant-Garde: 1912-1950. The volume includes an essay on the Transcendental Painting Group by Marianne Lorenz and color plates depicting the work of its members.

     Regarding Rudhyar's work and its place, Lorenz writes, "Rudhyar is unique among the artists being studied here because he emerged fully as a painter in the style of Kandinsky almost immediately. Philosophically and intellectually seasoned in the theories that underlay Kandinsky's art, his artistic development was not subject to the long search or evolutionary process that was the case of Harris and Jonson. Rudhyar discovered Kandinsky's vocabulary at the same time he discovered painting. As such, much of his oeuvre of the period, while often imbued with an almost heroic energy, quotes Kandinsky's formal language and reinterprets it in overtly theosophical or mystical terms. In works such as Storm Gods (1938, shown here), Rudhyar uses motifs from a number of Kandinsky's works illustrated in the 1936 and 1938 catalogues of the Guggenheim collection.


     "Interestingly, Alfred Morang minimizes the influence of Kandinsky on Rudhyar, stating that 'the work of Rudhyar is built upon a non-objective pattern, but is not at all like the work of any other non-objective painter . . . His placing of shapes upon an oblong is not dictated by the rules of, let us say, Kandinsky or Picasso. Rather the motive force that actuates Rudhyar is a desire to the intangible something that he has learned to recognize through his music and his writing.'"

      Rudhyar's paintings include works in vibrant colors, and many smaller black-and-white drawings. These paintings are non-representation, "abstract" or "symbolical." They aim at evoking inner states of consciousness and strong feeling-responses to rhythm and color combinations. Rudhyar uses pure colors, often in "dissonant" combinations which are blended and balanced in a manner creating what he calls in music "dissonant harmony." It is fundamental to realize, that none of Rudhyar's creative expressions emphasizes the technical, specialized approach which mark artists who work as "professionals." Indeed, Rudhyar fought against the attitude of professionalism in any art; for such an attitude binds the creation to ideological as well as esthetic standards, and very often to fashion. "Any art," he states, "should evoke an inner reality behind the outer forms, sounds or colors. The work of art of whatever kind, plastic or musical, should raise the feelings and the consciousness of whoever is faced with it to a higher level. To call this a 'mystical' concept is quite senseless. This has been the foundation of all great art in all cultures, except perhaps during their formalistic and 'classical' period during which virtuosity and 'art for art's sake' was considered the ideal for an often empty and bored aristocracy at some kingly or princely court."

      Years passed devoted to the writing of articles for astrological and other types of magazines, with some time spent painting. This was in many ways a difficult period — the "dangerous Forties" of inner questioning and reorientation. World War II was impending; then, attention absorbing. Two books were written, the first, Man Maker of Universes proved unsatisfactory and only fragments were kept. The other, very long, The Age of Plenitude was almost accepted by a New York publisher but war pressures interfered. A small book, The Faith That Gives Meaning To Victory, was published in New York in 1942. It stressed Rudhyar's ideal of a global society and the true relationship of the individual person to "Man's common humanity."
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« Reply #43 on: August 19, 2007, 12:29:28 pm »

SANTA FE, 1947

The Happiest Years: 1945-1954

Rudhyar experienced a strenuous divorce during April 1945, and soon afterward he married Eya Fechin, daughter of the famous Russian painter, Nicolia Fechin. Rudhyar and Eya left California to live in Colorado Springs and, in 1947, in Nambe, New Mexico. These were happy and productive years. A book Modern Man's Conflicts — The Creative Challenge of a Global Society was written in 1945-46 and published in 1948 by the Philosophical Library in New York. He wrote a number of series for the magazines Horoscope and American Astrology, which were later revised and in book form and published as The Lunation Cycle, The Practice of Astrology, Triptych, The Astrological Timing — The Transition To The New Age (originally Birth Patterns for a New Humanity). A work attempting to reformulate the basic images of Christian-Western culture was written in 1948, and later recast entirely in a new style and published as Fire Out of the Stone.

      These years were the most productive in the field of painting. Rudhyar loved New Mexico. At one time he had planned to build a house near Santa Fe on land bought for him by the composer Charles Ives, but his divorce interfered. There were several reasons for leaving New Mexico. One was a meeting with the pianist William Masselos who, on his own initiative, had discovered the score of Granites. Masselos performed this composition in Albuquerque, New Mexico and afterward he and Rudhyar became staunch friends. He told Rudhyar of the interest young musicians in New York were taking in his music, as well as in his astrological writings, and of their desire to meet him and have him with them in New York. Also Eya, who had been a modern dancer in the Lester Horton Dance Company, had begun a compelling form of work dealing with personality-readjustment through basic body-movements, described in her booklet Eutonles. She felt the need to study certain aspects of psychology with a sympathetic psychologist. The latter turned out to be the remarkable pioneer in group-therapy and the founder of Psychodrama, Dr. Jacob Moreno.

Rudhyar and his second wife, Eya Fechin, at home in New Mexico.   

A stay in New York during February-March, 1949 brought many interesting contacts in the musical field, but also the realization that the New Mexico episode had to be concluded. The early fall saw Rudhyar and Eya once more in New York.

      During the winter 1950 Rudhyar's orchestral work Ouranos and his piano compositions were given at a concert at the Composers Forum on March 15, 1950 and Maro Ajemian played his Prophet-Icrite in April. Eya met Dr. Moreno at that time and decided to study with him at his psychiatric hospital in Beacon, New York. Rudhyar passed that summer at the MacDowell colony in Peterborough, New Hampshire composing a Quintet for piano and strings. A recital of Rudhyar's music was given in Carnegie Recital Hall on November 13, 1950, with the assistance of William Masselos and Anahid Ajemian, violinist. Rudhyar performed several of his piano compositions. The New Music Quartet gave a remarkable performance of Rudhyar's brief work Solitude on March 17, 1951.

      Rudhyar passed the winter 1952 in New York City, and later in Washington DC. During the following summer, a house was rented in Spring Valley, New York within the Threefold Farm estate dedicated to the ideals of the great German philosopher, occultist, educator and creative artist Rudolph Steiner.

      Lack of money forced Rudhyar and Eya to give up living in New York. Eya accepted an offer to start a department of Psychodrama at the Mental Institute in Independence, Iowa. She showed exceptional and natural gifts as a psychodrama director and had been warmly recommended by Dr. Moreno. Rudhyar and Eya reached the institute just after Rudhyar's 57th birthday.

      During his stay in Iowa, Rudhyar had no outlet for his creative activity, except the writing of a few astrological articles, and this was even at a low because several magazines to which he had contributed had to close. He became acquainted with the Science Fiction field, and his interest was aroused. Through the year 1953 he wrote a novel Return From No-Return, two novelettes, and a number of short stories. In these works Rudhyar displayed his most fertile imagination, but he placed too much emphasis on occult themes and poetic verse, and not enough attention on scientific gadgetry, to find acceptance. Many years later, however, Return from No-Return was published in 1973 by the Seed Center, Palo Alto.

      The stay in Iowa, which lasted until December 1953, proved quite traumatic. Eya fell in love with her assistant, who was a patient at the institute, and during a return trip to California she asked for a divorce. Rudhyar passed the winter of 1954 in Cathedral City, near Palm Springs, California, where he had often gone for rest in the past. Money was very scarce, but deep inner experiences provided the strength to meet the crucial test which opened the way for the significant work which occupied Rudhyar's later years.
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« Reply #44 on: August 19, 2007, 12:32:19 pm »

Years of Transition: 1955-1967

Rudhyar passed the summer 1954 and spring 1955 at the Huntington Hartford colony in the Santa Monica Hills. There he composed the score for his most extensive and mature composition, Thresholds. There was no time for Rudhyar to orchestrate it, but twenty years later the task was completed by George Champion of Palo Alto.

      During the winter 1955, Rudhyar gave a series of lectures in Santa Barbara and San Francisco; and in June the publication of monthly mimeographed booklets Seed For Greater Living began, made possible by the efficient secretarial work of a devoted friend, Virginia Seith. These publications were issued regularly until 1962. A book of poems, Resurgence, was also written during this period. Rudhyar lived then in a small one-room apartment on Hollywood Blvd. He wrote a regularly for the magazine Horoscope and gave a few lectures in Los Angeles, during a brief stay in New York stay during December 1956, and in San Francisco and San Jose during 1957.

      In 1958, invited by an elderly Swiss correspondent, Mme. Honegger, Rudhyar took three trips to Europe, which proved most significant and valuable. The second trip, 1961 through 1962, brought to him many contacts and stimulating experiences. He lectured in several countries (France, Switzerland, Holland and England), receiving an exceptionally warm response. He wrote in French the book Existence, Rythme et Symbole at the suggestion of an editor; but very peculiar events made the promise of publication a myth. This book however formed the basis for the later work, The Planetarization of Consciousness, which, when published in 1970, made tremendous impact on the minds and outlooks of the thousands of young people worldwide who had suddenly became fascinated by Rudhyar's work.

      At a lecture in Holland, Rudhyar met Carolus Verhulst of the Dutch publisher Servire, who offered to publish a small book of his, if there was one needing publication. Rudhyar, who had tried in vain to find a publisher in New York and even in England since McKay in Philadelphia had given up in 1951 all astrological publishing, presented Mr. Verhulst with a copy of The Pulse of Life. The Dutch publisher accepted it at once and a most fruitful cooperation began, which resulted in the publication of nine volumes, making Rudhyar work widely available, just as a new generation of seekers were becaming fascinated by metaphysics and astrology.

      During a third trip to Europe in 1963, Rudhyar gave a seminar at the School of Philosophy in Holland and lectures in Paris and England. While staying on the Italian Riviera during August, he started an autobiography, which was superseded by another in 1983.

      During the summer of 1963, Rudhyar received letters from a young Canadian woman, Tana, who was then living with a piano teacher who had been a past correspondent and had bought several of his books. Tana came to see Rudhyar at Christmas while he was staying for a few days in Cathedral City. After her return in March, they were married in Riverside, California, taking residence nearby in San Jacinto, Calfiornia after a lecture tour in St. Paul, Chicago and Boston.

      The years which followed were a period of quiet and steady work and involvement in the publishing, promotion and distribution of the books being published in Holland. A small volume, The Rhythm of Human Fulfillment was written and published in California in 1966. Tana became involved in a very early version of desktop publishing, typesetting several of Rudhyar’s manuscripts for publication on a vintage IBM Executive typewriter. In 1967 a small grant from the Ditson Fund in New York enabled a number of copies of most of Rudhyar's piano scores to be distributed to some libraries and a very few pianists. Rudhyar had recopied most of them for this occasion and they are now available at the Composers' Facsimile Edition, which is a branch of the American Composers Alliance, to which Rudhyar belonged for many years. He not only copied old scores, but revised and completed the work now called Syntony, in four sections (Dithyramb, Eelogue, Oracle, Apotheosis). During this period he also composed the ninth Tetragram, Summer Nights.
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