‘All that is solid melts into air’: the music of Fricke and Scelsi

Haven't had time to write or think lately, but did manage to squeeze this out for my tribe over at 3quarksdaily.

The best thing about long-distance driving is the sonic qualities of the enclosed acoustic chamber that is the car itself. On a recent pre-dawn drive through the eastern lowlands of North Carolina, two recordings kept me present and transfixed. I knew the pieces well, but the striking commonalities of the two artists had never occurred to me. Their sounds and compositional forms differ dramatically, but both share a belief that music exists to reflect basic cosmological principles—from silence comes word, from tone rhythm, from decay renewal, etc. In different ways, their compositions deliver a direct experience of what each believes to be cosmological truths.

Named after the Mayan genesis myth, Popol Vuh is a German progressive (‘prog’) band best known for its soundtracks to Werner Herzog’s early films. Led by Florian Fricke, Popol Vuh flourished for over three decades, leaving a long and varied discography. Originally a classics scholar, Giacinto Scelsi was an Italian composer often associated with the minimalist movement, despite his music being packed with activity. Scelsi studied Berg and Schoenberg but later abandoned western compositional style in favor of powerful, occasionally violent, monotonal variations.

Read the rest of this meditation here.