CLARIFICATIONS and notes on the subject of the concert-recital

1. The Rise’s Paneurhythmy was played until 12.06.1957, when the government executed search warrants and seized 163,000 volumes of the Word of the Master, loaded them on 19 trucks and send them for incineration to the rendering plant at Gara Iskar.

2. A trial started against the Spiritual community of White Brotherhood, which lasted 2 years (1958–1959). The Rise’s EN Hall was closed and Paneurhythmy was banned for playing at The Rise and in the country.

3. A record of Paneurhythmy was made at the shed of Ignat Kotarov on 5–8.03.1971 on (See The Rise … Vol. 8. Sofia, 1998, p. 669. ISBN 954-90041-8-Х) The Rise was demolished in 1972.EN

4. Official authorities allowed playing Paneurhythmy in Sofia, in 1972. How did it happen? (See The Rise … Vol. 9. Sofia, 1999, p. 782, section 7. ISBN 954-90041-9-8)

5. Stefan Doynov bought stereo recorders, Poland-made „Unitra“ for BGN 1500 (equal to 15 salaries) and it was the beginning of listening and playing Paneurhythmy from this recording (on 5–8.03.1971). All accepted it warmly, especially still living disciples from the School of the Master.

6. Followers of the Master Deunov in the period 1971–1980 played Paneurhythmy after this recording. Tape rolls for this recording were purchased by the compiler of „The Rise …“, Dr. Virgiliy Krastev.

7. Today, we present this recording, photographs Paneurhythmy and pictures from the time of the School of Master Deunov. This is the 3rd concert-recital devoted to Paneurhythmy, the music and life in the School.8. Let’s recall: The First concert-recital, which took place on 30.09.2006, was presented under the headline „HOW WAS PANEURHYTHMY GIVEN IN THE SKY ON MOUSSALLAH PEAK“. The Second concert-recital, which took place 18.11.2006, was presented under the headline „HOW WAS THE RISE’S PANEURHYTHMY CREATED“. With today’s Third concert-recital (31.03.2007), „HOW WAS EN THE RISE’S PANEURHYTHMY STUDIED AND PLAYED“, the historic circle of Paneurhythmy is completed.

9. Where is the real Paneurhythmy? (See The Rise … Vol. 23. Sofia, 2006, pp. 824–891. ISBN 954-9915-14-Х)

 

 

FIRST PART

GRANDMOTHER WITH A CANE

A story by Galiley Velichkov

 

The day is Sunday. In the morning, on the lawn of The Rise we have gathered in a circle. All are ready for Paneurhythmy. The musicians are gathered in the centre of the circle, instruments are tuned, and we are just waiting for a signal from the Master to start playing. Generally, the Master made a nod with his head; it was a sign of beginning. We started playing, then the whole circle moved and that heavenly sacrament called Paneurhythmy began to realize. Now, the Master stands, silent and looking occasionally at the pines that surround the lawn. We see that there is some reason for the Master to wait — we look around, the direction where he looks, but we see nobody. We see only the green pines. Five minutes passed. At a certain moment, from the direction where we looked and saw nothing, an older sister appeared, walking slowly. She leaned on a cane and proceeded slowly as a turtle. All watched her — musicians who are inside the circle and those who lined the circle. Today is Sunday. The circle is larger and there are more than one hundred people. All watched her and she calmly walked for five minutes a distance of sixty to seventy meters. Finally, she reached the circle; she enters it and lined up, leaning on the cane. It turned out that she had no partner — Paneurhythmy, you know, is played in pairs and the grandmother apparently had to play with her cane. The Master looked at us and signalled to the musicians. We blew the instruments and the whole circle of Paneurhythmy turned and began to move. The heavenly sacrament merged with us and we were a single entity — musicians, music and the moving circle in front of the eyes of the Master. The Master usually played alone and moved inside the circle, fifteen or twenty feet from us — so that there is equal distance between us — the musicians, and the outer circle of Paneurhythmy. This could be respected only when the range was greater when the place where the playing was larger and allowed such distances.

Now you can hear how the Heaven sacrament entered each one of us and we moved in the circle of Paneurhythmy. This Sacrament opens ‘The first day of the Spring and the first day of Love’ in our souls.

Next follows ‘The first day of the Spring’

 

BRITISH QUEEN PLAYS PANEURHYTHMY

A story by Galiley Velichkov

 

After ending Paneurhythmy, participants in the circle saluted each other, lined up one after another and approached the Master to kiss his right hand. This was a sign of communion with Him and God. This gave us his blessing. Usually the musicians went last. Finally, I waited because I wanted to ask him why we had to wait for that old woman. I say an old woman, because we were all very angry that we had to wait ten minutes — five minutes to appear on the horizon and five minutes to get close to us and enter into the circle. This old woman’s name was Maria. This grandmother, Maria, was the sister of Todor Stoimenov, who was one of the first disciples of the Master and the chairman of the Youth occult class. I kissed His hand and uttered my first words of the Master:
—Master, now all people of the ‘Rise’ played Paneurhythmy with extreme inspiration, including Sister Maria and her cane.

The Master looked at Grandmother Maria, who stood aside, leaning on the cane, but with a proud stature, untouchable by any comments and opposition. The Master looked at Todor Stoimenov, who stood beside me in front of Him, and said solemnly:

— Once the Queen comes to play Paneurhythmy, it is a sign of Heaven and Earth that we will win. Remember this well.
I stopped even thinking. Todor Stoimenov smiled and his smile spread over the entire lawn. Other friends came around Master and showered Him with questions. I turned to Todorcho — so we named him following the Master’s example. He looked at me and I raised my hands helplessly:
—I do not understand.

Brother Todor Stoimenov understood my amazement, grabbed me by the arm and led me away. He leaned over my ear, so that the rest could not hear, and clearly said:
—My sister Maria, who is for you Grandma Mary, is the reborn Queen of England, who marked the rise of the British Empire. The Master repeatedly told me this, and now we heard it again and knew why we will prevail through the teaching. The next Mankind will play Paneurhythmy and through it, we will prevail. Amen!

‘Here a beautiful day is born!’ This is the Day of Victory!

Follow ‘Evera’ and ‘Jump’

 

YANKO’S HORSES WATCH PANEURHYTHMY

A story by Galiley Velichkov

In whose hands are the destinies of the world?

In 1939, the entire White Brotherhood was present at the Seven Lakes of Rila. This was the biggest outing on Rila Mountain and the longest camping there during the entire twenty-two years of the School. More than 700 people had climbed the mountain to visit the Lakes. Continuously, from dawn to dusk, caravans of horses moved around, climbing up with the luggage and returning after lunch and sometimes bringing back the luggage of those who went home. It was a perfect organization.

We musicians played inside the circle. Once Paneurhythmy finished, someone pushed me and said:
—Look at that picture!

I looked around and what to see! In a single file, 30 meters from the circle, 50—60 horses were line up. The groom Yanko used these horses to ferrying the luggage and foodstuff from the village of Govedartsi to the Seven Lakes. After discharging the luggage, the horses were set free in the lakes. On their necks bells of different sizes were hanging, so brother Yanko could identify the horse herd’s location. When we came to Paneurhythmy, the lawn was empty and there was no horse. The horses had heard the orchestra and the music of the Master and had come silently toward us, but who was this unknown leader and superior of theirs, who lined them up in perfect file — each horse standing two meters away from the other, in a straight line of about one hundred meters? Standing and watching. Nobody was moving. Only occasionally, they can be seen waving tails up in the air. Therefore, they were watching us during Paneurhythmy and had heard the music of the Master. I stood with rapt attention and all agape in this amazing view. What was this parade, of the hosts of heaven? Where were their riders and warriors? Probably heavenly warriors were riding them and they stood on a parade in front of their commander. And who was the commander? With these thoughts, I went to the Master, kissed his hand and said:
—Look, Master, those horses who have lined up like on a parade and watch our Paneurhythmy.

The Master turned and looked at them, smiled and said:
—You are free to go. — The horses moved immediately, turned around as if on command, and began to slowly dispersing. I was amazed.
—Master, what does that mean?
—It means the heavenly parade of armies, which is now managing the world. They came to bear witness to the Great Master’s might and the power of the sword. The fact that these horses were obedient all that time was a reward that in the next life these beings will be born not as horses, but as humans.
I stood and watched alternatively the Master and the horses. I tried to remember all said. I could not figure it out — it will work out years later. However, you should remember it.

I memorised it. After many years, I checked the authenticity of the words spoken by the Master. I waited to see how the Host of Heavens of the Universal Master ruled the destinies of the world!

Next is the song ‘Weaving’

 

THE COMMANDER AND THE VIOLINIST ABOUT PANEURHYTHMY

A story by Galiley Velichkov

You should know about the scale of external discipline and internal discipline with each of us, there at the Seven Lakes?! You cannot imagine the scale of Paneurhythmy happening there. The same year, Paneurhythmy was played at the Third Lake and then we moved to the lake called ‘The Kidney’. There was a big plateau and a large lawn and we had all camped peacefully. The circle of Paneurhythmy was large and there was space enough to expand properly within the circle.

The time has come to play Paneurhythmy. We, the musicians, came in the middle of the circle and started playing. The circle of Paneurhythmy moved. Guests had the courage and joined to play with us. It was a great experience for all. Finally, after Paneurhythmy was over, one of two sisters who listened to the conversation mentioned above went to the Master. I was standing next to him. We, the musicians, are the last kissing the hand of the Master.

— Master, you know how inspired were the musicians when playing, especially that brother with the white scarf. He moved the bow so nicely that I was in raptures and I could not shift my eyes from him.
I overheard the conversation from a few meters and smiled gently. I knew that scarf. And I knew who gave it as a gift and whose neck it was decorating now.

The Master looked around us, while the musicians stood around Him and waited their turn to kiss his right hand. The Master told the sister:
— Today, this brother musician moves the bow playing his violin and you are playing Paneurhythmy. But you are not aware of the fact that in a previous life he was a great commander and in his hand he was holding a sword and this sword had beheaded a lot of people, and in particular the heads of those who today are playing Paneurhythmy here. Now instead of a sword — he holds the violin bow.

The sister cried out:
— But Master, it is very cruel. I cannot accept it!
— It is better to hold the bow now than to go to the world, take out a sword and start beheading again — the Master retorted.

I stood dumbfound. I was pondering on his words.
— But why, Master, has he come to the School — after he was such a savage man, beheading people, a real thug?
— He has come to the School because he was once a scourge of God and his sword was given to fulfil the Will of God and cleanse leprosy between then Mankind. He did his job and now he comes here to pays his karma and free his mind, by accepting the ideas of the White Brotherhood. Both then and now, he performs God’s Will.

The Master stopped talking, looked pointedly at me, and smiled slightly. The sister calms down. I knew who the violinist and the commander were. I knew very well who he is. I have known him for ages. I know him nowadays. And will I recognised him tomorrow? I cannot be sure about it.

I remembered this Paneurhythmy forever, with a revelation of heaven on the nature of cosmic providence of historical figures and historic events.

Editor’s Note: The violinist and the commander was Galiley Velichkov himself.

 

 

YARMILA MENTZLOVA AND PANEURHYTHMY

A story by Krum Vazharov

I am going to tell you a very important story. One year before the Master passed away, we were at The Rise and two sisters happened to stand close to the Master. One was Maria Zlateva and the other one — Yarmila Mentzlova. The Master turned to sister Yarmila and said:

— Sister, you will fix Paneurhythmy.
Yarmila, taken by surprise, replied that she did not know it well, but the Master repeated the same sentence, adding that she would learn from those who knew it best. Yarmila accepted these words of the Master as the task of her life.

Yarmila was a Czech girl, born in 1907 in Bulgaria. Her father was Yosif Mentzl, a professor of horticulture in the agricultural School in Haskovo. In those years, many foreign experts in various fields lived and worked in Bulgaria, attracted by the Bulgarian government after the liberation of Bulgaria from Ottoman rule. After a while her father settled in Krasno Selo. Here had later retired and run a flower greenhouse. He grew flowers and sold them. We went to school together with Yarmila and were friends since childhood. We grew up together; in 1928, I went to study in Athens, and she went to France. She went there to study dancing and was a disciple of Isadora Duncan, who had a School of so-called free dance. It was neither a dance for dancing, nor ballet, but a free dance. She specialized as a choreographer. During the summer holidays, she arrived in Sofia and we resumed our friendship. In 1943, she returned to Sofia, she wanted to stay permanently and we married, so she became my wife.

This is the reason that the Master addressed her and ordered her to fix the Paneurhythmy exercises. However, she did not know the exercises. I contacted her with Katya Griva who knew Paneurhythmy very well. She knew Paneurhythmy to the tiniest detail. The Master personally showed her the first exercises of Paneurhythmy. Later other sisters joined. There was a group of sisters to whom the Master had shown the exercises personally, and they in turn taught others. However, it is one thing to play accurately and correctly, and another thing — to describe the exercises. It takes a professional approach. Yarmila appeared here with her professional training to describe the exercises. After the Master passed away, she began working on the specification of Paneurhythmy movements and their description. Then in Bulgaria it could not be realised, it was impossible to write a book and publish it. So she returned to France to be able to work and to finance an edition of Paneurhythmy.

Yarmila’s photograph is just below me. She shows the first exercise.

Next is the song ‘The Sun is rising’

 

Yarmila plays Paneurhythmy for the first time

A story by Krum Vazharov

When she returned to Bulgaria in 1943, she had never heard of, nor seen the Master. Had she neither ever seen nor played Paneurhythmy. It happened so that I brought her to a meeting at Simeon Simeonov’s place. There were about 20 friends and the Master already there. There were some cases where brothers and sisters sometime invited the Master and some friends to visit someone’s place. The hosts got prepared for the occasion, the table was served with a variety of candy and delicious food, and then a very interesting conversation began and friends asked the most interesting and unexpected questions to the Master. That day it somehow happened that brothers took a few violins and played Paneurhythmy. I do not remember how and why it happened. However, after having heard the first sounds, Yarmila stood up and began to dance. When one is a follower of the free dance, his or her whole body and the inner nature must make patterns in the air following the music. Yarmila began to play the part of Paneurhythmy, which was being played at that moment. She started to play what we knew and learned when studying Paneurhythmy. She had no explanation of where she could have learned it. Everyone stared at her, and I was surprised most. Then the Master said:

— Do you see now the connection between music and movement!
It is because the music contains movements, but you should be a specialist to detect it. All of us, who were present, stood dumbfound, because she never knew Paneurhythmy nor had heard of it. Nevertheless, when she heard the music, she started playing Paneurhythmy movements. So step into the spirit of Paneurhythmy, because in a ballet performance there are precise movements. While, in the free dance of Isadora Duncan, there is something else. With all your body, you express the music. Whatever melody would be given to Yarmila, she would stand up and begin to dance. She actually binds and enters this field, hence the spirit of music. To do what is required, you need high-level culture. She amazed all who were present there.

This is an example of how the Spirit of Paneurhythmy entered into Yarmila and forced her to play the sounds of violins.

Next is the song ‘Square’

 

YARMILA PAYS WITH HER LIFE FOR PRINTING OF PANEURHYTHMY

A story by Krum Vazharov

What is the relationship between me, Yarmila and Paneurhythmy? I have been in the Brotherhood since 1927. The Master started showing the first exercises the same year. Later He began to teach the exercises. When the Master showed the exercises to be learned, I attended there and played Paneurhythmy from the outset. One summer, when we were on Rila, we played Paneurhythmy at the Lake of Purity. The musicians stood at the centre of the circle and played. The Master played himself ten meters away from them and moved in a circle too, but in a smaller circle inside. As he was inside the circle, he left him and went up to the players in the circle of pairs. He came and stood beside me and began to play with me. In addition, that was something he had never done with anyone. That day I was a little late to respond and when I came to play, there was no partner for me to play Paneurhythmy. Pairs were formed and everyone was waiting for the Paneurhythmy starting signal. So we played with the Master the rest of Paneurhythmy. This surprised us all. I could not understand why he did it. It was only later that I realized it, when I had to teach Paneurhythmy to young people. The reason was he had seen that I am the one who will teach Paneurhythmy to young people and did the best to make me study it. He had not simply showed me one exercise, but awakened several centres inside me. I tried to learn it all with precision and detail, because I had to teach them to the young and had to deliver them in the right way. Yarmila, who knew the situation, knew how I played Paneurhythmy, and I knew it very well, so after she left to France, I asked to help in the description and specification of Paneurhythmy movement. In 1982, I went to France and spent two months working on it, specifying Paneurhythmy.

After Yarmila specified all details and wrote the book, she submitted it to a publisher. I had already returned to Bulgaria. The most unexpected happened at that moment. One night, returning from Paris downtown, someone hit her with some iron on the back of her head in order to rob her. She fell unconscious and was found lying on the street unconscious in the morning. She was rushed to the hospital and after two months, she passed away. She passed away in this way. She could not wait and missed the supervision of the book’s printing. This is an example of the severe fight with dark forces. They decided to eliminate her, eliminating thus the publication of Paneurhythmy. I did not review her horoscope, and I was not looking for such an aspect in it. Nevertheless, she did her job as a soldier and paid with her life for this. This is not something small, to pay with your life for your ideal, and what you have done for so many years for the cause of the Master.

Next is the song ‘Beauty’

 

YARMILA WILL FIX PANEURHYTHMY

A story by Maria Zlateva

It happened on December 20, 1944. Sister Yarmila Mentzlova and I walked around the circle of the lawn, where we played the morning exercises. We were pleasantly surprised when we saw the Master — faint but clothed in a cape — approaching us. When we were close, he told Yarmila:
— You, Sister, will fix the exercises!
— Master, I cannot reproduce them correctly. I am playing them like a ballerina.
— No! — said the Master, interrupting her sharply. — You will ask those sisters who were around me — Katya Griva and the others. You will fix Paneurhythmy.

Then He turned around and went away.
Indeed, both at that moment and earlier, Paneurhythmy was not played quite right, so there was a need to devise a model of proper performance of the exercises. Then the Master chose sister Yarmila because she was a ballerina — she could be a good model for the proper performance of exercises. Before that, she had to master them a lot better than Katya Griva and other sisters who learned Paneurhythmy in those summer evenings when the Master showed them. I was the only one who heard the Master making this commission. Unfortunately, it could not be executed because sister Yarmila left abroad. The Master told her that she had to work here in Bulgaria, but not abroad. She left Bulgaria because she was not eligible to a pension, and some other personal reasons intervened as well.

Photographer Vasco Iskrenov made pictures of all the exercises shown by Yarmila and Maria Todorova.

Next is the song ‘Mobility’

 

HOW COULD PANEURHYTHMY EXERCISES BE SHORTENED?

A story by Maria Zlateva

Sometimes the morning lecture was quite long and many disciples were employees, workers, disciples, who had jobs to do, have to leave the circle of Paneurhythmy after the first hour. The Master recommended shortening some of the exercises, as appropriate, namely for this reason — to spare his friends being late for work. Brother Simeonov used to skip ‘The first day of the Spring’, as this was the longest song.

One morning, we had surrounded the Master, to kiss His hand. He sought Simeon Simeonov to tell him something, but the latter talked to some sisters. Then the Master turned to me and said:
— You will always play the first three songs of the Paneurhythmy: ‘The first day of the Spring’, ‘Evera’ and ‘Jump’, and then you will skip over a number. One day, you will play an even number of songs and one day — an uneven number of songs of the Paneurhythmy. When it is a holiday, then you will play all numbers in a row, and run it all.

When the Master told me which exercises should be played, I asked Him whether we should give signals to others to know which exercise to be played. The Master said:
— It’s better without signals. They must be vigilant and supervisory.
Then He continued:
— You, musicians, must split into groups. Ones should play, and others should dance. Moreover, everyone, while playing, should observe — to see what improvements could be made. This applies also to those who play the music.
It is possible to have a time when you cannot play the entire Paneurhythmy.

Therefore, the Master had given permission, and you will shorten the exercises under the scheme approved by Him.

Next is the song ‘Overcoming’

ANTRAKT

 

 

SECOND PART

THE CLOSED MUSIC CIRCLE AND ‘SUN RAYS’

A story by Penyu Ganev

When I came from the village where I was teaching children to Sofia, I always immediately directed me toward The Rise and looked forward to meet with the Master. Sometimes, I waited for hours to finish his meetings with other friends, but he always accepted me. Then I shared some things coming to my mind with the Master, or something that I had to solve, but I did not know how to do it. He pointed out at the method and to how to do it myself — of course, with His help.
Every time I left from a meeting with Him in His room and kissed his hand, He used to say:

— Bulgarians are living in a closed circle of music!
I walked away from Him and while I was in town, however, it was a thought haunting in my head, but once I went to the village, I forgot about it, as if it drowned somewhere. I was a not a man losing and forgetting stuff — I remember details a lot of years, including to an old age.

For several years, the Master kept repeating this upon every departure of mine. I was going back to the village and everything sank into my rural chores. Finally, I got the thought in mind and asked:

— Master, what do you mean when saying ‘a closed circle of music?’
With the forefinger of his right hand, the Master indicated me to come back and to sit in the chair. Only at that moment, He told me to sit down; before that, I stood up and asked my questions and concerns for my work.
— I am telling you: Bulgarian folk music is moving in a closed circle! For Bulgarians, the national dance is rachenitsa, for Russians — kazachok, for Poles – polka, for Turks — belly dance. Bulgarians, playing ruchenitsa, play it live crushing with feet, crushing: you have seen how women in the villages peel and wash the clothes at the river, beating, and beating with the wand tree called ‘tepachka’ — until the laundry is finished, they are completely exhausted. The same is here — one plays, but crushes his feet, then gets exhausted, out of breath, and sits on a threelegged stool, breathing with an open mouth, and hoping to relax. One played rachenitsa and after that is sitting and panting, tired; and nothing at that moment can make him think whatever. That is the closed circle of Bulgarian folk song!
— What is, Master, an open circle? — I asked him, unable to understand.

The Master stood silent. He looked at me from head to toe. I am Penyu Ganev, who came from the village to The Rise.

Next is the song ‘The Joy of the Earth’

WHAT DOES THE OPEN CIRCLE IN BULGARIAN FOLK MUSIC MEAN?

A story by Penyu Ganev

This is my question to the Master.

The Master went to the sleeve of his violin, took it and said:
—Let us go outside!

Outside, in the courtyard, 50—60 friends of outs were seated at tables. It was at 5 p.m., Sunday, so at this time there were many people coming to the gym, because they knew that the Master could go out and hold a talk with them or sing songs with him. When the Master approached carrying the violin, all happily jumped with excitement and because they knew from experience that in such cases, when the Master comes along with the violin, he will give a new song. Attending such an event is more than a revelation of the Spirit. All of us for the rest of our lives remember this moment. I remember how after decades friends told me how one of them was present when the Master gave for the first time a song — for them it was an amazing experience, because people were in real contact with the Spirit of the Master, where these songs came from.

At that moment, we were on such a historic moment. The Master began playing on the violin ‘Sun Rays’. We stood dumbfound! Finally, he stopped and said:
— I have mastered this song for 15 years, but I have not played and sung it to anyone before! — And He looked at me.

Then I realized that we were not yet ready to accept this song. I have personally listened for three years the Master telling me about the closed circle of Bulgarian folk music, but my mind was not awaken, and I just kept silence and nodded my head, pretending to understand what He was talking about, but my mind remained closed on this issue. Perhaps, there was a flaw in my mind, which did not allow me to be awake to the light that the Master had guided for many years by raising questions about the closed circle of Bulgarian song. Then I was not ready. Since I was the only person dealing with folk songs from the School, and sang them to the Master, so we were waiting for the moment my mind to be fully ready and open for this issue. Someone had to become a conductor, and the Master through his mind should unlock the chain of human souls enticed to it, to channel the knowledge of the Master and to illuminate our ordinary human minds.

All were listening to the Master. He explained that what he played was a piece of Bulgarian music in an open circle. An open circle means that, while you play and dance, you finish the play full of energy! One should be agile, feel eager to set to work, unlike the feeling when the dance ‘rachenitsa’ is played, making you feel tired and exhausted.

Next is the song ‘Introduction’

 

WHAT DOES THE CLOSED CIRCLE IN BULGARIAN FOLK MUSIC MEAN?

A story by Penyu Ganev

Finally, the Master explained that what he played was a piece of Bulgarian music in an open circle. An open circle means that while you play and dance you finish the play full of energy, enjoy an ascending stream of thought, enlarge his sensual horizon, rather than feel tired and die for rest, pant and moan from exhaustion.

The Master gave us a simple example, but we failed to understand it because it sounded more like theory to us. After a while, however, I knew from experience what the closed circle in Bulgarian folk music means. How was it possible? My elder brother Bobby died while playing the dance of rachenitsa. My brother Bobby visited my uncle Nicholas on the occasion of the name day of his son Theodore. They started a feast. In the village of Voditsa there was a brass band, who came to play at the celebration, and because my brother was a dance champion and a horo leader – the man showing horo steps, he stood up ready to demonstrate what he knew since his youth, he started dancing, went out of breath, fainted and died on spot. All wondered how such a thing was possible, but then I realized the power of the closed circle —this was my kin brother, not a joke or a theory. Moreover, it happened to me — the man around whom is centred this whole issue of the closed circle in Bulgarian folk music, and the Master has put me to lead this dance, which explains why so many things and surprises happened to me, but eventually I collected knowledge from my personal experiences, chained together.

The Master gave an example how to play the dance of rachenitsa in ‘Sun Rays’ which has an upward start.

Until now, humankind lived in a state of collective Unconsciousness, and was gradually getting out of it, entering into collective Consciousness, thanks to the advent of the Universal Master — Who came down on Earth to push forward this Cosmic circle and to take the music of Bulgarian people out of the closed circle, and through this people — as a part and an organ in the Collective Consciousness and in the body of humankind, — to lead humankind out of the Collective Consciousness into the Cosmic Consciousness, that is called Supraconsciousness.

It starts with the awakening of human consciousness — the knowledge of it was given in His Word. For the awakening of the human soul, His music was given; here, in ‘Sun Rays’, the exit from the closed circle of music begins from the lyrics ‘You have borne me a strong man, mama’, to become intelligent, to think well and to love well!’ This is the life of the Paradise!’ Therefore, the awakening of the human soul begins, as well as the awakening of the collective human soul of all Humankind. This is the way of Humankind out of the closed circle towards the freedom, from the closed Collective Subconsciousness towards the Collective Consciousness and hence — to the Cosmic Consciousness of the Spirit. Amen!

Next is the song ‘Beautiful day’

 

WHO SAVED AND PRESERVED THE LOAN WHERE PANEURHYTHMY IS PLAYED?
THE PROFILE OF NACHO PETROV

A story by Boris Nikolov

NACHO PETROV

He met with the Master in the 1910s. At this time, he was member of the Democrat’s Party of Alexander Malinov. When Democrats took power, he was appointed Minister of Interior. Previously, he was deputy mayor of the capital city of Sofia. He had gone through all aspects of domestic political life, met the Master, and stood out as one of the vigorous friends who pushed forward the organization of The Rise and the Brotherhood. He was loyal, energetic, and when we had to settle any problems with the Sofia municipality, he committed immediately and resolved them.

The most interesting fact was that the Master ordered to assign on his behalf and two other people the entire lawn, which was purchased with the brothers’ money and where the Brotherhood played Paneurhythmy. Legally, he was co-owner of the lawn. However, as it was practiced then, he had written a ‘contre-lettre’ verified by a notary public to certify that the property, recorded in his name, was bought with the money of the Brotherhood. In 1947, when the law of large urban real estate became effective, according to which everyone had the right to own only one property, Nacho Petrov gave up his own house and recorded entirely on his own behalf the entire lawn because he held the deed of estate rights in his name. This way, he saved the lawn for the playing of Paneurhythmy from 1947 to 1957, when the Brotherhood faced a contrived case and The Rise’s Hall and the lawn were locked for us. It should be noted that, following the advice of lawyers, other two stenographers, who had title deeds for parts of The Rise’s Hall, recorded on their behalf the apartment and the house they owned and left their parts of the Hall to be seized by the State under this law. Those two ladies were Pasha Theodorova and Savka Keremidchieva’s mother — Theresa Keremidchieva. Only Elena Andreeva, the third stenographer, because she held no other estate records, recorded on her behalf the third part of the common property possessed jointly by the three stenographers. Thus, in the period 1947—1957, we paid BGN 3000 annual rent to the municipality for using two-thirds of the Hall, which following to lawyer’s advice, were given up by Theresa and Pasha to keep their own homes. This is mentioned to stress on the outstanding personality of Nacho Petrov. He was honest, decent and uncompromising.

Next is the song ‘How satisfied are we’

 

THE WRATH OF THE ANT AND NACHO PETROV

A story by Boris Nikolov

He walked around with a short haircut, always neatly, formally dressed and personable. After the Master passed away, he had begun to read with slow preaching voice parts of the lectures, explaining what the Master meant, and always ended by saying that if the words of the Master were complied with, the disciples could expect persecution, suffering, the Brotherhood would be disbanded and all would be responsible for it. He presented these words in a tone that not everyone endured. Sometimes people left, and suddenly he saw himself with no one around him. Then he was mad and verbally threatened that everything, at The Rise, would vanish, leaving no trace behind. In this way, he irritated others even more. Gradually, no one held him on reverence, and he was increasingly annoyed, angry and threatening. He was over 75 years of age, but we were younger and nobody could any longer tolerate his arbitrariness. Then a Sister, who was called Siika Dinova, went to him and started such a scandal about his behaviour, that he could say nothing. Siika Dinova was a lady of short posture, thin, shy, barely saying a word to anyone, tiptoeing like an ant at The Rise; and suddenly, this ant dared facing Nacho Petrov and pouring her entire wrath his head. In a lecture of His, the Master had said: ‘Beware the wrath of the meek!’ Here it became true. The wrath of the ant was devastating for Nacho Petrov. At the same moment, he fainted and lost consciousness. He was rushed to a hospital and died without regaining consciousness.

So, beware the wrath of the meek!

Nacho Petrov kept a large archive of records about the Master and the Brotherhood. He collected and made clippings of those newspapers that were defamatory of the Master and of the Teaching. He compiled and collated them, sending angry responses to the authors of such lies.

Note by the compiler of The Rise Dr Vergiliy Krastev:

Those who kept their houses and gave up The Rise’s Hall and lawn, were considered to be spiritual brothers and sisters. Leader Todor Stoimenov burned in the stove of brother Radi millions of leva of the fraternal tithe left by the Master on behalf of the Brotherhood.

Nacho Petrov was liquidated in the middle of The Rise’s lawn; he paid with his life to let this lawn keep Paneurhythmy being played in the period 1947—1957.

Those members of The Rise, who gave up The Rise’s Hall, lawn, and burned down the fraternal tithe dedicated to God, have themselves removed the roots and contributed to the eventual destruction.

Then they blamed the communists for having destroyed The Rise. You can see yourselves that the truth is exactly the opposite.

Next is the song ‘Step by step’

 

PANEURHYTHMY AND ITS GATES

A story by Atanas Minchev

I regularly played the violin for Paneurhythmy. Many musicians came, and often Matthey Kaludov conducted with a wand. Photos from those times feature my face as well. Friends used to play Paneurhythmy and move in a circle. The Master danced inside the circle and moved in a circle as well, ten meters away from the musicians. Typically, pairs playing the exercises sometimes made bigger, sometimes smaller steps, and it broke the even distribution of pairs inside the circle. You could see how some pairs were clustered to one another, leaving three or four meters behind them, and only then the next pair moved in the dance of Paneurhythmy. In such cases, the Master, pointing with his hand, used to say: ‘Leave no gate open! Move correctly and equally spaced!’ Players used to remedy the circle, but after a while, they used to make the same mistake, and the Master repeated: ‘Set right the gate. The gate — set it right! „

Once Paneurhythmy finished, they gathered around the Master and asked him:
— Master, what do You mean by ‘gate’?

The Master said:
— When you move in pairs in the circle, the distance between you should be symmetrical and pairs should be equidistant from one another, standing at a distance of one man’s hand away from each other. If there is an empty space in the circle, a door, a gate forms, and through it, alien spirits enter the School, stealing from its strength, energy and light, formed when playing Paneurhythmy. The Paneurhythmy you play here corresponds to another Paneurhythmy there, in Heaven, which is performed and played by other, light, beings, which you cannot see. The state you experience when playing Paneurhythmy is due to the Heaven’s Paneurhythmy through which God’s blessing descends upon you. This circle of Paneurhythmy is a living circle of light and an energy field. Allowing the opening gates, you let spirits in, which hang in and steal the life force that goes through Paneurhythmy. If you close the circle and play properly, they cannot steal from it. Behold, therefore I say there should be no gates, no doors and no windows, to have a living Paneurhythmy that resembles the one that is played above, in the invisible world.

Brothers and sisters, who were there, heard it and remembered it. And, after so many years following the departure of the Master, I could hear my brother Gradi crying out during Paneurhythmy: ‘Set right the gate! There should be no gates!’ All turned around and thought Gradi was a little mad. However, Gradi had remembered all said by the Master that remarkable day, and wanted Paneurhythmy to be played properly, according to the Master. Yes, Gradi did not explain it to friends after the end Paneurhythmy, but should have done so.

Therefore, I decided to share with you my knowledge of the circle and the gate. Remember it.

Next is the song ‘In the morning’

 

The next musical exercise of Paneurhythmyis ‘Breathing’.

 

It represents the range in ascending or descending order.

A concert performance is namely the time when you need to understand the world of THE SEVEN TONS, by which a human enters into harmony with nature.

The Master gives THE LANGUAGE OF SEVEN TONNES — LIVE MUSIC

DO — Basic tone of Love. It is the urge of love in the material world. The collected energy is looking its own way towards freedom. Liberation through Love.

RE — The first act of freedom, incentive to proper movement towards favourable conditions of life.

MI — Allows start of thought, where is the direction of each movement, the purpose to which a person moves. It is the main tone of truth.

FA — A prerequisite to retain the earnings as internal wealth. Regulates the internal conditions in humans, plays an important role in organizing it.

SOL — Acquiring mental energy. This light ton transmits the spiritual aspiration in humans. This is the main tone of Wisdom.

LA — The tone of Life! There are conditions in which man manifests himself. Maturation period.

SI — The highest step reached by the man reached up, creates spiritual disposition. Law of gratitude to everything.

The basic tone is the one marking the beginning of human life!

Excerpt from the Word of Master Deunov

Next is the song ‘Breathing’

 

WHY WERE ‘SUN RAYS’ GIVEN?

A story by Maria Todorova

After a while, the Master gave ‘Sun Rays’. This is a more complex composition. Pairs are located in 12-ray line directed towards the centre. They represent the Universal Love that comes from the centre of the Universe, and goes toward the periphery. These twelve rays are surrounded by a circle of pairs. There comes a time when the man, who descended on the earth, must awaken, let his mind open and allow that Universal Love penetrate him as Light. This is the awakening of human consciousness. The next stage is going upwards, i.e. from the periphery to the centre of the Universe with the so-called Cosmic Love. It starts with the song ‘You have borne me a strong man, mama’. Hence the rise of man began, and the awakening of his mind, the entering into the Supraconsciousness through the Daylight in him. From that moment, Man goes out of the closed circle of his personal life and Bulgarians go out of the closed circle of its folk song. The Master once said: ‘For forty years I have laboured to take the Bulgarian folk song out of the closed circle.’

Hence begins the upward path of the Bulgarian consciousness towards Supraconsciousness that should reach the Word of the Master. Only that Bulgarian, who has broken this closed circle and opened it to himself, can go on the ascending path of the inner Light of his consciousness. This inner path of Light in his mind will take him through the Daylight in the Spiritual world. There he will find the Word of the Master. You can read lectures of the Master and still not get a single word of it. Because it is first necessary to let the Light in your mind, and only then the Daylight of the Word of the Master could come to your mind and meet with Him. There is no second path! From there begins the open road and the liberation of the closed circle of Bulgarian consciousness for the School of the Master. The School of the Master is Light and Daylight of His Word.

Next is the song ‘Sun Rays’

 

IF WE HAD NOT PLAYED PANEURHYTHMY

A story by Boris Nikolov

Paneurhythmy — these are the dances of the Sun and of the Sun rays, simple and perfect. The Master once said in Marchaevo:
— If it were not for Paneurhythmy, the world and the Bulgarians would have experienced the worst.
— If we had not played Paneurhythmy, the situation of the Bulgarians would be much harder than now. We are associated with the Bulgarian people, and we are bound to humankind. Whatever you do, it affects the entirety — added the Master another time.
The Master ended a conversation in Marchaevo with the words:

— There should be a special school in which to learn the movements of Paneurhythmy. One day, the Brotherhood will have a choreographic school where the art of movement and music will be taught.
This is an idea of ​​the Master for the future work of His disciples with the Word, songs and Paneurhythmy.
With the songs and music of Paneurhythmy, through the Sun rays carrying them, we play it on Earth as the Sun Dances. We sing songs of Paneurhythmy as the songs of the Sun. Through songs and dances of Paneurhythmy, we descend from the Sun and establishe the School of the White Brotherhood on Earth. This is Paneurhythmy for us.

Paneurhythmy is a powerful weapon for construction!
Paneurhythmy is a powerful weapon of destruction!

Be careful where you direct the great power of Paneurhythmy!

Next is the song ‘You have borne me a strong man, mama’

 

The Master talking about Paneurhythmy

 

Paneurhythmy is a great power! God sent the Great Spirit down to Earth, and you are assigned servants to Him, serving as archers and bodyguards. The weapon is given in your hands, and you should use it to guard the enforcement of the Great Law, i.e. to keep peace and harmony in human souls. Do not point the weapon given in your hands against the Mighty Lord, sowing discord and dissension among you!

Beware, your weapon is given! It is up to you where you will point it — whether against your inferior souls (deeds), or against the All Mighty Supreme Divine Power, which by a single thought may erase you from the face of the Earth!

Paneurhythmy is a great weapon I gave in your hands (the Master said). It is up to you whom you point would it, and harmony and peace depend on it not only between yourselves but also in the entire world.

If Paneurhythmy movements are properly played, the positive forces in the Nature will run through you, and God’s Love will bound you to one another in the endless circle of the Universe. However, if you make mistakes in playing Paneurhythmy movements, you aim your weapon at Greatness, at God, and you hinder your own personal growth! Then you complain that this or that is to blame for your current standing in the world. Nobody is to blame, but you, because erroneous playing of paneurhythmic movements triggers a negative movement of forces in the Nature and they mess up the entire the world. It is you to blame only.

Beware, because the evil is lurking to surprise you and make an unexpected blow, which will demonstrate that as disciples of the White Brotherhood you have failed to learn an important lesson. A good disciple should not make mistakes, or allow these to be made by others.

Evil is a great professor, to whom every disciple of the White Brotherhood stands up and says his lesson. The professor is relentless, if the disciple does not know his lesson. He will be stigmatised with his wand.

Proper execution of the movements of Paneurhythmy is actually a proper handling of the weapon. Whether it is aimed at the inferior, to secure the triumph of the supreme and the good, it is entirely up to you!

Paneurhythmy is a great power that will give new impetus to the world. Great spirits who steer the world will hear you singing and playing. Paneurhythmy is the means sending them the key of My Teachings that brings peace to the souls of human beings. Great spirits must receive this key from you only!

The Pentagram is the symbol of the Path of the disciple.

Next is the song ‘Pentagram’

‘Hymn of the Great soul’