On this web-site you can find my articles written for the “Newsletter of the Section for Eurythmy, Speech and Music” published in Dornach, Switzerland (Rb Rundbrief), and reproduced here with the kind permission of the Editor.
The Shakespeare article appeared elsewhere, too. Many of the articles concern eurythmy and music, and are published on-line initially for the convenience of eurythmists and eurythmy students. In other words, these assume some prior experience. Any questions? Do contact me: eurythmy.wm@ukonline.co.uk
Alan Stott – Collected Articles (1997–2007)
The Scale in Eurythmy as Visible Singing (GA 278) – Part 1 (Rb28. Jan. 1998)
The Scale in GA 278, Part 2 (Rb29. Summer 1998)
The Meditation for Eurythmists (Rb30. Easter 1999)
The ‘Melody in the Single Note’ and the second mission of Michael (Rb33. Michaelmas 2000)
Hallelujah (Rb32. Easter 2000)
Character and Conduct in GA 278. Criteria for Art (Part 1) (Rb35. Michaelmas 2001)
Character and Conduct in GA 278. Criteria for Art (Part 2) (Rb36. Easter 2002)
Character and Conduct in GA 278. Criteria for Art (Conclusion) (Rb37. Michaelmas 2002)
No more Tone-Gestures in Eurythmy? (Rb36. Easter 2002)
The Sun Sings. A glance at contemporary practice (Rb37. Michaelmas 2002)
Reinhard Wedemeier: What’s up with the “Gestures for Music”? Rb39. Michaelmas 2003)
Maren & Alan Stott: Falling Asleep while Staying Awake: in answer to Reinhard Wedemeier (Rb39. Michaelmas 2003)
Hans-Ulrich Kretschmer: Absolute Tone-Gestures or not? (Rb39. Michaelmas 2003)
Bevis Stevens: The Angle-Gestures: a confirmation of Eurythmy as Visible Singing (Rb41 Michaelmas 2004)
Julian Clarke: Fréderic Chopin, 24 Préludes pour le pianoforte (Rb41. Michaelmas 2004)
Reader’s letter (Rb42. Easter 2005)
The Angle-Gestures revisited (Rb42. Easter 2005)
Chopin’s Homage to BACH. Part 1: Implications for several Doctor-Forms (Rb38 Easter 2003)
Chopin’s Homage to BACH. Part 2: Towards a “second chapter in eurythmy” (Rb39. Michaelmas 2003)
Robert Kolben: 24 Préludes pour le pianoforte dédies a son ami J.C. Keßler par F. Chopin (Rb40. Easter 2004)
“The area of the fifth”: in answer to Robert Kolben (Rb40. Easter 2003)
Robert Kolben (1929–2005) (Rb43 Michaelmas 2005)
‘One-for-one’ in Eurythmy: Slavery or Marriage? (Rb43. Michaelmas 2005)
´The Philosophy of Freedom´ as a Musical Composition: the seven-sentence rhythm of love – Part 1 (Rb44. Easter 2006), with ´The Philosophy of Freedom´ as a Musical Composition: the seven-sentence rhythm of love – Conclusion (Rb45. Michaelmas 2006)
Shakespeare—Who Held the Pen? (Rb47. Michaelmas 2007)
Reviews: Hugh O’Connor: For the Price of a new Shirt’ Rb32 Easter 2000
Christopher Cooper: R. St. “Eurythmy as Visible Speech” Rb44 Easter 2006
Errata and Corrigenda
The Melody in the Single Note. P. 4, sub-section ‘The Heart’. The second indented quotation ends “physical human being.” A new paragraph begins “From this central area…”
Hallelujah. Subsection ‘Hallelujah in eurythmy’. (iv), l. 3 for “sould ‘l’”, read “sound ‘l’.
Character and Conduct. Part 1. l. 5 from end: for “anthesis” read “antithesis”.
Endnote [37], l. 5: after “first para.” add “RSP, p. 144”.
Character and Conduct. Part 2. penultimate para, l. 2. The “sixth planetary embodiment of the Earth” takes Mars/Mercury as two counts. Strictly speaking, “New Jerusalem” – in Steiner’s terminology ‘Jupiter’ embodiment – is the fifth planetary embodiment.
Character and Conduct. Part 3. The 3-line paragraph immediately preceding the subsection “Artistic Criteria” should be an indented quotation.
No more Tone Gestures in Eurythmy? In the caption to the illustrations: for “ecclestical”, read “ecclesiastical”.
Subsection “Something Crucial”. Third and second lines towards the end: for “the singing and into inner music”, delete “the”.
Chopin’s Homage to BACH. Part 1. The caption to the penultimate musical example and diagram for Prelude 23 is missing. Add: The BACH-motif appears in both voices in a reflected form; c.f., the two fishes in the zodiacal sign for Pisces; in Hermann Beckh’s arrangement, F major belongs to the Fishes, the twelfth position. In bar 4 the form of a cube can be discovered (read two-dimensionally), a well-known symbol signifying the conclusion of a cycle (see R. Guénon).
Chopin’s Homage to BACH. Part 2. Subsection “The Mission of the Musical Arts”. The indented quotation translates “Bild” as “picture”. In speaking of music perhaps the word should be “audition”.
Christopher Cooper. Review of Eurythmy as Visible Speech: ll. 10-11, for “idiosyncrasies” read “idiosyncracies”.