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Wednesday, 26 November 2025

Blavatsky and Magic 1/2

An extract from Chapter 6, 
Fictional Practice: Magic, Narration, and the Power of Imagination: Magic and Literary Imagination in H. P. Blavatsky’s Theosophy
Marco Frenschkowski
 
This extract gives a decent overview of Blavatsky's views on magic. Perhaps it understates her knowledge of practical magic somewhat, as Isis Unveiled contains several references to Hindu, Buddhist, and Siberian Shamanistic occult rituals and magical practices and much else scattered throughout her writings. She often quotes Eliphas Lévi approvingly, as well as Jean-Marie Ragon's Maçonnerie Occulte, her correspondence and Esoteric Instructions occasionally have practical descriptions, etc.. 

Magic in nineteenth- century occultism and esotericism had become a kind of catchword, a flycatcher term meaning very different things, and appealing to different cultural milieus. It could be used both as a term of approval for occult power and mystery, and as a term of disapproval for surviving superstitions or dubious and dangerous arts (cf. Otto 2011). This basic ambivalence is reflected also in HPB’s widely diverging statements on magic, and it is continued in theosophical literature to the present day. We will start our observations with a late text. The Theosophical Glossary, which should have become a kind of dictionary of Theosophy, but which she could not complete, and which was posthumously edited in 1892 by her last secretary G. R. S. Mead (1863– 1933), has an entry “magic,” from which we quote a few words:

Magic. The great ‘Science’. According to Deveria and other Orientalists, ‘magic was considered as a sacred science inseparable from religion’ by the oldest and most civilized and learned nations. […] Brahmans and Egyptian Rekhget- amens (q.v.) or Hierophants would not have popularized belief in the power of man by magic practices to command the services of the gods: which gods, are in truth, but the occult powers or potencies of Nature, personified by the learned priests themselves, in which they reverenced only the attributes of the one unknown and nameless Principle […]. Ancient and mediaeval mystics divided magic into three classes— Theurgia, Goetia and natural Magic […]. ThG, 197f.

Already HPB’s earlier Key to Theosophy had used essentially the same words (KTh, 344f.). This entry is dominated by an approving attitude to magic, but also includes the idea of black magic; it also incorporates concepts of Magia naturalis, and takes as a basic reference sources from Neoplatonism. It is clearly more a Western interpretation of magic than an Asian one. Probably as interesting as these definitions is the part William Wynn Westcott (1848– 1925) played in the Glossary. He had contributed many articles on Rosicrucian, Hermetic doctrines and Jewish Kabbalah “at the special request” of HPB (ThG, Preface). Now Westcott of course is one of the founders of the Hermetic Order of the Golden Dawn, the most important Victorian society devoted to western ceremonial magic, Hermeticism and practical occultism with many prominent members (short overview: Frenschkowski 2016a, 142– 153). The story of the rather competitive and strained relationship between the Golden Dawn and the Esoteric Section of Theosophy (mostly HPB’s immediate followers in London) has been told by Gilbert (1987) and others, and it centres very much on the question which forms of occult practice might be beneficial and legitimate.

The leading persons of the occult societies in the London area knew each other well. Commenting on a mandrake sent from Cairo, Westcott called HPB “my friend” (Westcott 2012, 188), and he was extremely proud about a “solemn agreement” on mutual respect and help between the Theosophical Society and the Golden Dawn (ibid., 66, in an address to the Horus Temple from 1892; cf. Gilbert 1987, 8). In the June 15th 1889 issue of HPB’s journal Lucifer the theosophical public “was introduced openly— if somewhat obliquely— to the Hermetic Order of the Golden Dawn” (Gilbert 1987, 1). Westcott has also written some articles in theosophical magazines. To give just one further example: Countess Wachtmeister (friend and some- time secretary of HPB cf. Wachtmeister 1989) in her notebooks writes down a lecture of S. L. MacGregor Mathers on Rosicrucianism, the deity and the Hebrew letters (Cooper 1995, 199); and he was perhaps the most practical one of the magicians of the Golden Dawn. Mathers of course also became the model for the villain in Aleister Crowley’s 1917 novel Moonchild (published 1929; see on this novel also Ethan Doyle White’s chapter in this volume). 

Theosophists were much aware of the growing competition in the occult scene particularly in late Victorian London, with a number of players of which the Theosophical Society and the Golden Dawn were just the largest ones (if we do not count fringe masonic groups). The correspondence with ‘secret chiefs’ or masters was a major common element between Theosophy and the Golden Dawn. R. A. Gilbert has demonstrated that the foundation of the ‘Esoteric Section’ in Theosophy (not connected as an organization to the Theosophical Society, and directed exclusively by HPB) that took place in October 1888, has to be interpreted as a direct response to many British theosophists’ interest in more practical occultism, triggered not least by the Golden Dawn (Gilbert 1987; Godwin 1994: 205– 225). Both Olcott and HPB gave other reasons for this new ‘inner order’ as well, but the matter is quite clear. The Golden Dawn also did not expect asceticism or abstinence from sexual intercourse, meat food and alcohol for advanced students, as did HPB. Pleas for advice on more practical sides of occultism had reached HPB over the years, in fact since the ill- fated beginnings in New York City. In her article Lodges of magic (1888) she expressed deep scepticism about groups of practical magic, however: 

One of the most esteemed of our friends in occult research, propounds the question of the formation of ‘working Lodges’ of the Theosophical Society, for the development of adeptship. If the practical impossibility of forcing this process has been shown once, in the course of the theosophical movement, it has scores of times. It is hard to check one's natural impatience to tear aside the veil of the Temple. To gain the divine knowledge, like the prize in a classical tripos, by a system of coaching and cramming, is the ideal of the average beginner in occult study. The refusal of the originators of the Theosophical Society to encourage such false hopes, has led to the formation of bogus Brotherhoods of Luxor (and Armley Jail?) as speculations on human credulity. -* 10: 124

These schools would quickly degenerate into “lodges of magic” (ibid., 125). Also Western civilisation has its shortcomings preventing occult adeptship: “Western civilization seems to develop fighters rather than philosophers, military butchers rather than Buddhas,” she writes. A note to the article polemizes against “Tantric black magic on a phallic basis.” HPB wrote even more explicitly on the “dangers of practical magic,” as in an article that became part of the posthumous The Secret Doctrine 3 (-* 15: 59– 69). As this article is already contained in the Würzburg manuscript (*.), our earliest witness for The Secret Doctrine texts, it is plausible that this and some similar texts were indeed meant to become part of a projected third volume of The Secret Doctrine. Over and over in her writings we see both traditions: magic as “the highest knowledge of natural philosophy” ()( 1: 366), and as evil sorcery (cf. Otto 2011, 557– 559). For the difference she quotes Thomas Wright, author of the well- known Narratives of Sorcery and Magic, from the most authentic sources (London, second edition 1851): “The magician differed from the witch in this, that, while the latter was an ignorant instrument in the hands of the demons, the former had become their master by the powerful intermediation of Science, which was only within reach of the few, and which these beings were unable to disobey” ()( 1: 366; from Wright ibid., 1: 1f.). 

HPB sees a revival of sorcery at the end of the nineteenth century, writing already in 1877 ()( 1: 366): “few facts have been better established than that of sorcery.” She could also set “occultism” against the “occult arts” (-* 9: 249– 261). Another terminology HPB uses for black vs white magic is Left- Hand Path and Right- Hand Path (e.g., $' 1: 192). This symbolism she takes from the Indian tradition; Sanskrit vamacara meaning “left- handed attainment,” synonymous with Left- Hand Path or Left- path (vamamarga). Stephen E. Flowers, author of a study (2012) on left- hand path magic, sees two criteria to be considered as basics of Left- Hand Path magic: Self- Deification and Antinomianism. Bernd- Christian Otto has underlined the inclusivist approach in Theosophy, its “semantischen Inklusivismus,” interpreted as a “magiologische Ökumene” that uses magic as a “Sammelbegri/f für nicht- christliche Religion” (blanket term for non- Christian religions, Otto 2011, 562f.). He stresses the discourse character of magic, which is here used to define a Theosophical identity distinguished from both science and theology, and as a label to draw demarcation lines in the occult milieu. An epistemological concept verging on that of arcane knowledge and magic is “forbidden knowledge,” a borderland of revelations that must not be written in books or told to non- initiates ($' 1: 156, 179, 299; 2: 48, 51, 156, 251, 437, a.o.). 

The relationship between Theosophy and practical magic has been complex and diverse, not least for the reasons just mentioned: it conceptually works as a group boundary marker in occultism. But these boundary lines are not strong. Interestingly, the leading calligrapher of magical manuscripts, spellbooks and grimoires in Victorian Britain, Frederick Hockley (1846– 1885), published also in Theosophical magazines, and was a kind of honorary member of the Theosophical Society, though as it seems he was never really active in it (though he could be quite dismissive of Isis Unveiled) (cf. Hockley/ Hamill 2009, #)), 65f., 88). Hockley’s invocation manuals using magic crystals and mirrors were widely known in British occultist circles (cf. )( 1: 596 on consecrated “black mirrors”). 

Recent research has pointed out that experiments in practical occultism such as astral projection seem to have been a subject of much interest already in the early New York phase of Theosophy 1875– 1879. Joscelyn Godwin even says: “Occult training, particularly in astral travel, was the main object of the early Theosophical Society, and this caused an almost immediate retreat from the public eye” (Godwin in Hammer and Rothstein 2013, 20). This overstates the point. There is much more evidence for metaphysical discussion, growing interest in Indian religions, and generally in a dissociation from the spiritualist milieu than in ‘astral travel’ or occult training. But of course these aspects go together. Some researchers have tried to prove a deliberate turning away of the Society from occult training (e.g., Godwin in Hammer and Rothstein 2013, 21). The evidence for this interpretation is small: we have also to consider the basic ambivalence concerning magic that results in widely divergent statements on anything connected to practical occultism, ritual, and psychic experiments.

As stated, in Lodges of magic (-* 10: 124– 130) and other writings HPB clearly expressed her deep scepticism about the advisability to form magical “working groups.” The term “ceremonial magic” by HPB is often used in a negative sense: “Having neither dogma nor ritual— these two being but fetters, a material body which suffocates the soul— we do not employ the ‘ceremonial magic’ of the Western Kabalists; we know its dangers too well to have anything to do with it […]” (-* 11: 266; cf. 5: 39; in French articles she uses the term “magie cérémoniale”). She was not much interested in ritual anyway: her widely divergent writing on magic never describe specific rituals, and she never quotes ritual agendas of magic or grimoires, in contrast to, e.g., the spiritualist Emma Hardinge Britten. 

Tuesday, 25 November 2025

Blavatsky and the top 30 Theosophical Films


The aim of the current series of posts is to do a kind of summary of the Theosophical influence on popular culture, a somewhat ambiguous and speculative undertaking. As such, the following list is almost entirely comprised of films written about in previous posts, therefore no film lists were consulted, and again, rather subjectively conditioned by my personal tastes. Nonetheless, perhaps it can give a respectable snapshot of the variety of Theosophical ideas and themes that have entered into the mainstream culture to a certain extent.
 
To give a more objective perspective, some Theosophically-influenced properties from a list of highest grossing media franchises: 5-Star Wars 70b; 10-Marvel C U 35; 11-HarryPotter 32 (C. Vablatsky); 28-Neon Genesis Evangelion 16.6; 40-Sailor Moon 14.3; 47- Warcraft 11.7 (Atlantis); 66-X-Men 7.78; Other lists mention: Indiana Jones, The Matrix, Twilight, DC, Marvel, Astro Boy ultimatepopculture.fandom.com/wiki/List_of_h

 
Lost Horizon
1- Lost Horizon
 (1937) Frank Capra
Shangri-La, inspired by the Tibetan legends of Shambhala, became a popular notion in society, starting with the success of James Hilton novel, Lost Horizon, inspiring film adaptations, songs, conferences, numerous academic studies, and a Tibetan village even adopted the name.  
7 Oscar noms, won 2, art direction, editing. Notorious 1973 remake actually did well, a cult classic

2- When You Were Born (1938) William C. McGann
An astrologer uses astrology charts to solve a murder case. Script by Manly P. Hall, who had Theosophcial connections. Several important astrologers were Theosophists.
Stars first Asian movie star Anna May Wong. It's a cool film. 
 
The Wizard of Oz
3- The Wizard of Oz (1939) 
Victor Fleming
Based on L. Frank Baum novel The Wonderful Wizard of Oz. Baum was a Theosophical Society member in Chicago. 
5 Oscar noms, won 2, best score, song 
Return to Oz, also quite well done. 
 
4- The Song of Bernadette (1943) Henry King
Blavatsky wrote about the case of the healing waters of Lourdes briefly, (Isis Unveiled 2, 578–580) but in a way that gives an interesting perspective on the film. Moreover, if one looks at the details of the case, there could be indications that there is some kind of Bodhisattvic esoteric involvement, although this is not specified by Blavatsky.
12 Oscar noms. Won 4.
 
5- It's a Wonderful Life (1946) Frank Capra
There is a Theosophical doctrine that each soul is connected to a more advanced soul, whose progress is connected to the progress of the earth-bound soul, whom it can potentially assist. Hence, this story can work as an accurate Theosophical allegory.
The writer was an Edgar Allen Poe specialist. 
6 Oscar noms. Won 
 
6. Down To Earth (1947) Alexander Hall
Blavatsky had Neoplatonic interests, including the Pythagorean musical aspects. Muse of dancing Terpsichore is not pleased with irreverent American musical about the Muses, so she joins the cast to get them to tweak the script. Basis for cult classic, Xanadu, Olivia Newton-John, 1980, hit soundtrack
Kissed by the Muse of RollerDisco: Utopia vs the Golden Ages of America, Hollywood, & Classical Myth in Xanadu, Meredith E. Safran

Ancient Aliens concepts, mysticism & primordial moon resonate with Theosophy
4 Oscar noms, 1 win, visual effects
Childhood's End, Arthur C. Clarke, theosophically influenced? 
 
8- Willy Wonka & the Chocolate Factory (1971)  Mel Stuart 
Seems to have intriguing spiritual symbolism Mel Stuart: “a complex morality tale,... it is also the story of a quest”. With a popular mention of the seven deadly sins among Christian interpretations, which is often a mystical concept, an esoteric, gnostic aspect could also be pointed out, perhaps influenced by The Wizard of Oz, with the initiatory labyrinth design of the sets. ''What are they? - Rainbow drops. Suck 'em and you can spit in seven different colours.'' The fact that Gene Wilder had connections with the Theosophical Society in his youth perhaps make the use of a Theosophical interpretative model more permissible.
Dante comparison, valid IMO, 2m 
 
9- The Wiz (1978) Sydney Lumet
Besides the L. Frank Baum connection, there is also the Afro-Futurism connection, of whom Sun Ra was a pioneer, and he included Blavatsky on his reading list in a course he taught at Berkeley University. 
4 Oscar noms.

10- Hair (1979) Milos Forman
Proclaimed the age of Aquarius, of which Blavatsky was an early signaller, to a mainstream public with panache. 
2 Golden Globe noms. 
  
The Empire Strikes Back
11- The Empire Strikes Back (1980) Irvin Kershner
The force (and dark side), Jedi Knights, Psychic powers & training, Taoist & Buddhist elements, all resonate with Theosophy- Blavatsky used the term 'Sky-walker'
4 Oscar noms, 2 wins, sound, effects 
 
12- Raiders of the Lost Ark (1981) Steven Spielberg
Point Loma Theosophist Talbot Mundy's exotic adventuer Jimgrim similarities with Indiana Jones. Once wrote about Ark of the Covenant in a pulp letters page.
9 Oscar noms. 5 wins

Raiders of the Lost Ark
13- Gandhi (1982) Richard Attenborough 
With what people know now about Theosophical role in Indian independence, maybe Blavatsky would get a nod, Besant casted. Nehru was a Theosophist.
11 Oscar noms. Won 8. Picture, director, actor
14- A Passage to India (1984) David Lean
E. M. Forster (1879 – 1970)- Howard’s End  reflects Besant-era Theosophists  Schlegel sisters interest in theosophy, socialism, feminism, & egalitarianism-Bloosmbury group, Virginia Woolf
A Passage to India see Nakamichi 
11 Oscar noms, 2 wins, supporting actress, score. 
 
A Passage to India
15- Return to Oz (1985) Walter Murch
Quite a serious attempt at adapting L. Frank Baum's original novels. 
1 Oscar nom.  
 
16- Akira (1988) Katsuhiro Otomo
I think that the parapsychology elements and the social context of the story setting can make for a decent Theosophical allegory concerning the dangers of developing psychic powers without the proper ethical education. An interesting example of parallels between the Cyberpunk genre and Theosophy.
 
17- Dracula (1992) Francis Ford Coppola
Blavatsky & top 12 Theosophical films 10- Dracula (1992) Francis Ford Coppola Bram Stoker had connections with late 19th c. occult scene & Theosophists, novel reflects esoteric themes of the time

Kundun
 
18- Kundun (1997) Martin Scorcese
The Theosophical Society has been a consistent supporter of Tibetan Buddhism in the west and the current Dalai Lama since his escape into exile.
4 Oscar noms 

19- What Dreams May Come (1998) Vincent Ward
In the original novel, writer  Richard Matheson references some Theosophical works on reincarnation. 
2 Oscar noms, 1 win.
 
20- The Matrix (1999)
 The Wachowskis
Perhaps the matrix corresponds to the Theosophical astral plane. The theme of a mystical secret society engaged in helpful deeds further strengthens the idea of The Matrix as a Theosophical occult thriller. The core plot seems similar to a Sailor Moon anime, which also appears to contain Theosophical themes, such as astrology.
Matrix is a term used in Blavatsky's The Secret Doctrine: "The expansion “from within without” of the Mother, called elsewhere the “Waters of Space,” “Universal Matrix,” etc., … '' (SD1, 62).
4 Oscar noms, 4 wins.
 
21- Atlantis: The Lost Empire (2001) Gary Trousdale, Kirk Wise
A lot of the pop culture tropes about Atlantis seem inspired by Theosophical ideas, and this film is no exception. Quite a cool movie. 

It would seem that the comprehensive world view of cosmic creation, vast time lines, progressive cycles, lost civilizations and continents was a significant inspiration for the world building propensities of fantasy literature. Tolkien's Numenor seems inspired by the Atlantis theories sparked by Theosophy, and the general historical process seems to have Theosophically-inspired elements. 
13 Oscar noms. Won 4. 

23- Agora (2009) Alejandro Amenábar 
Blavatsky was interested in Neoplatonism, including Hypatia. 
13 Goya noms. Won 7. 
 
24- The Lost City of Z (2016) James Gray
Well-received true story of English explorer Percy Fawcett, who had unorthodox Neo-Theosophical views that inspired his expeditions. His brother had worked with Blavatsky's circle.
 
25- Doctor Strange (2016) Scott Derrickson 
The mystical pop culture roots of the film has garnered considerable commentary.
 
26- The Eternals (2021) Chloé Zhao
The original comic book series was a tour de force of Jack Kirby's pet Theosophical pop culture themes. Kirby was an avid reader of science fiction pulp magazines, who used a wide array of Theosophical concepts throughout his career:  supernatural phenomena, psychic powers, alternate realities/dimensions, mythology, alternate/cyclical history, lost civilizations, ancient aliens, transhuman evolution, secret societies- good and bad, and the science/magic overlap. The film had a mixed critical and commercial reception and the planned sequel has been suspended. However, it has developed a cult following in social media vectors.

27- Shang-Chi and the Legend of the Ten Rings (2021) Destin Daniel Cretton
The original comic book featured characters created by Sax Rohmer. In Rohmer's Romance of Sorcery, 1914, there is a chapter devoted to Blavatsky. The Rohmer characters have been dropped, but the film probably has more mystical elements that are closer to Rohmer's original Fu Manchu occult thriller series.
1 Oscar nom. 

28- Black Panther: Wakanda Forever (2022) 
Ryan Coogler
The film guest-stars Namor, or Kukulcan. Namor's creator Bill Everett mentioned the Pseudo-Theosophy pastiche, A Dweller on Two Planets in an interview. Namor became associated with Atlantis in 1962, replaced by Talokan in the film, which fits well with Blavatsk's early account of Atlantis.
4 Oscar noms, 1 win. 



29- Sailor Moon Cosmos (2023) 
Tomoya Takahashi  
A pop culture Theosophical cosmological allegory? Concepts include the eternity of the world; cyclical concept of time; creation, preservation & destruction Trimurti; reincarnation; karma; spiritual evolution ; primordial moon
 
30- The Boy and the Heron (2023) Hayao Miyazaki
The film features a golden gate with mystical properties. Through the Gates of Gold is a classic Theosophical spiritual text that takes up this traditional symbol. 
Oscar for best animated film. 
 


Monday, 24 November 2025

Blavatsky and the top 20 Theosophical composers (Classical Music)

In honour of the 150th anniversary of the founding of the Theosophical Society in New York city, we've decided to look into the cultural influence of Theosophy since then, with posts on novelists, composers, painters, poets, films, and pop culture. Perhaps the names here are not as familiar as with the list of novelists, but I think that all of the musical selections included here have something interesting to offer, not that the list does not include some historically significant composers.
 
Looking for composers with some kind of specific connection or influence, this list was formed simply based on music that I enjoyed, special mention should go the the following composers, most who are who probably are more deserving to be on the list for historical reasons:
Peter WarlockKaikhosru Sorabji, Adolphe Biarent, Edward Elgar Edgar VareseKarlheinz Stockhausen  John Cage Luigi RussoloGranville Ransome Bantock, Torkom Saraydarian. Gustav Mahler, was connected with Anthroposophist conductor Bruno Walter, and Jean Sibelius once stayed at a Theosophists home for a week. In both cases, I felt that the Theosophical connections were not specific enough, unfortunately.
 
Marie Jaëll
Perhaps best known for pioneering avant-garde modernist atonal music, many of the composers below worked in the late romantic style, and if one considers that the late romantic style continued in film music, and considering Holst's The Planets massive influence on film music, then one could say that Theosophical composers are important for both modernist atonal and the late romantic styles. Several were also concerned with introducing Asian music styles, folk music and jazz into classical music. Moreover, special mention should go to Leopold Stokowski, a conductor who did so much to support Theosophical composers. Stoki was known to socialize at the Old Krotona restaurant, which has recently been designated an official historical landmark.
 
1- Marie Jaëll (1846 – 1925)  
French composer, pianist, and educator, corresponded with Edouard Schuré  and incorporated holistic, spiritual and scientific perspectives in her writings on music theory and education.

2- Louis Glass (1864–1936)
Danish composer took inspirations from Bruckner & Frank, especially after his own immersion in theosophy, led him to creating series of large-scale autonomous works Fantasia for Piano & Orchestra, Theosophical Ballet Artemis. 
 
Arthur Farwell
3- 
Arthur Farwell (1868 –1946) 
Child education activist Sarah Farwell was a relative of Transcendentalist Ralph Waldo Emerson, a Vedantic student of Swami Saradananda, and an admirer of Theosophy and New Thought philosophy. Her son, Arthur Farwell was steeped in this visionary atmosphere as a child, and would embrace it for the remainder of his life. 
https://mattmarble.net/arthur-farwell 
 
4- Alexander Scriabin (1871 –1915)
Russian composer and pianist, read Blavatsky. Although scholars contest Scriabin's status as a theosophist, there is no denying that he was a mystic, especially influenced by a range of Russian mystics and spiritual thinkers, such as Solovyov and Berdyayev, both of whom Scriabin knew. making contact with theosophists such as Jean Delville.
 
Gustav Holst
5- Gustav Holst
(1874 –1934)
British composer who studied Sanskrit became friends with GRS Mead and Clifford Bax Theosophists. His famous great success, The Planets, inspired by Theosophical astrologers such as Alan Leo.
 
 
6- Cyril Scott (1879 –1970)
British composer, writer, poet, and occultist. An enthusiastic Neo-Theosophist who made use of various psychic practices, he wrote 400 musical compositions concertos, symphonies, operas; wrote 20 pamphlets and books on occult & natural health including Music: Its Secret Influence Throughout the Ages.
 
7- John Foulds (1880–1939) 
British composer, travelled to India in 1935 where, among other things, he collected folk music, composed pieces for traditional Indian instrument ensembles, and worked in radio and became Director of All India Radio in Delhi in 1937. His wife Maud MacCarthy was a Theosophist.
 
8- Arnold Bax (1883 –1953) 
British composer who associated with Yeats & Irish Literary Revival circle. His brother Arnold was a Theosophist. 
 
Agustín Barrios

9- Agustín Barrios Mangoré
(1885 –1944)
 
Paraguayan guitarist and composer. "In spite of a severe religious education, my primitive pantheism has pointed me in the direction of Theosophy, the most human and rational of philosophic concepts."  
 
 
 
 
10- Carlos Selzado (1885 –1961)
French-American harpist and composer, part of a California Theosophical music network with Edgard Varèse, Josef Hoffman, Leopold Stokowski and Dane Rudhyar.
https://go.gale.com/ps/i.do?id=GALE%7CA596318905&sid=googleScholar&v=2.1&it=r&linkaccess=abs&issn=0002869X&p=AONE&sw=w&userGroupName=anon%7Ec4a58d85&aty=open-web-entry 
 
11- Rued Langgaard (1893 –1952)
Danish composer. Rued Langgaard’s father, Siegfried Langgaard, was an advocate of this orientation, and more than 1000 handwritten pages (!) survive from his hand under the heading »On the Harmony of the Arts in the World Symphony«. Rued himself was strongly influenced,
 
William Grant Still

12- Dane Rudhyar (1895 – 1985)
French-American Rudhyar was a part of Theosphical scene near Krotona, CA 1920-1930 with Stokowski, Ruth Crawford-Seeger, Carlos Salzedo, Henry Cowell, Edgard Varese, Evangeline Johnson.
https://sfciviccenter.blogspot.com/2010/10/rudhyar-in-retrospect-1-seed-man_02.html
 
 
 
 
13- William Grant Still  (1895 – 1978)
Dean of African American Composers influenced by Theosophy via music therapist Evelyn Benham-Bull (1897-1983) but was more of a spiritualist. Symphony No.5 program notes here some seem to show Theosophical influence
 
14- Henry Cowell (1897 – 1965)
One of America's most important and influential composers pioneer of world music
connected with an independent SLO Cal Theosophy community.

Ruth Crawford Seeger
15- Viktor Ullmann (1898 – 1944)
Silesia-born Austrian composer who was associated with Rudolf Steiner and  Anthroposophy which is maybe half Theosophical, but included because of Atlantis, even though it's mainly nominal.
https://www.youtube.com/watch?v=IEapgzDdr0s

16- Ruth Crawford Seeger (1901–1953)
American composer and folk music specialist. Step-mother of Pete Seeger. piano lessons with Djane Lavoie-Herz, sparked interest in theosophy & Scriabin, met Dane Rudhyar and Henry Cowell.
https://ca.toa.st/blogs/magazine/a-quiet-pioneer-composer-ruth-crawford-seeger-laura-barton
 
 
 
Elisabeth Lutyens
17- Elisabeth Lutyens
(1906 –1983)
A Theosophist from a Theosophical family, she grew up with Krishnamurti and became known as the queen of horror film composers. 
Her background in Theosophy and Eastern mysticism is apparent in the otherworldly atmosphere conjured up by her film scores and is also evident in the music she created outside the studio system. 
https://cinebeats.wordpress.com/2020/03/11/elisabeth-lutyens-the-horror-queen-of-film-composers/ 
 
 
18- Walter Kaufmann (1907 – 1984)
Bohemian-born American, he fled Germany before WW2-studied Indian music with Theosophists John Foulds and his wife, violinist/proto-ethnomusicologist Maud McCarthy. moved to Canada, then US - composed All-India radio theme.
 
19- Alan Hovhaness (1911 –2000)
American-Armenian composer who bridged eastern & western music, recorded on small labels; with Seattle Orchestra in 1970s, was in top demand for 20 years, more recently recorded by Naxos; apparently into Roerich Theosophy.
 
20- Wayne Shorter (1933 – 2023)
American Nichiren Buddhist, chosen for The All Seeing Eye, Atlantis album titles, importance of Cyril Scott's writings for John Coltrane
 
For more information on Mystical, Esoteric, Theosophical composers, musicians and artists:
 
PS.
One could ask 'what about today's music? Are there any important Theosophical ties there?'  Unfortunately, it is the Thelemans, with connections with the Beatles, The Rolling Stones, and Led Zeppelin, that lead the field, as well the Mormons, with the Osmonds. However, Theosophy can be said to be represented with Shambalah by Three Dog Night, Seven Rays by Todd Rundgren, Fallen in Love by Gino Vannelli, (I’m Always Touched by Your) Presence, Dear by Blondie, as well as Somewhere Over the Rainbow by Judy Garland (of which I've counted at least thirty recordings by top jazz, country and rock musicians, all very accomplished renditions). Actually, it is possible that Elvis Presley and John Lennon were reading Blavatsky around the same time in the 1970s. And, since Lennon apparently had access to Presley's private hotline, a little unlikely, but who's to say that there wasn't a Theosophical nexus of discussion between them?