We had absolutely nothing against that because she had very beautiful hair. Her hair is as. She was really a very nice, comfortable part of the group. Her behavior and.
But in general this production was no different from all the other. I've always looked for the fact that. Groupies were not allowed. GA: How did you really get to meet Djong Yun, the very first time? Have you heard about her from other. Musicians from other towns and cities that came to. One day Djong Yun came there. I was playing with Andy Fix, the guitar player, and he was. That she was fantastic. I was working with Esther Ofarim in those days, but it didn't work out because she.
Which I did understand. In those days there was not this competitive feeling among musicians, and the. People were just visiting each other for the sake of music, and not to. What, in your opinion, does this album mean to you, and what position does this.
Personally, I still consider this music as incredibly beautiful. But very rarely do I. I'm always living with the music that I'm now realizing, or. So I don't really dwell in the past, and I don't think too much of the past,. I do regret that today, because I think I haven't really done a good service with my own. And that was the beginning of an extremely. We have practically made music since then without interruption, we have been. We didn't change anything.
Actually I was giving in so much on this album to the style of Danny Fichelscher, the music of. Danny Fichelscher, that we have sort of stuck to this formula for the following seven years.
FF: No, they were not recorded at the same time. Quite to the contrary. I think we made DAS. There were a lot of things happening. So it was not really at. GA: You of ten change a melody that you used before, and you us it again in a different tune. But the. FF: This is what you could say about Mozart as well, because this is the individual style of an artist, that. You are right ins of ar as that. And we. And sometimes we even like these new, different.
It's one way of jubilation; it's our. It's a mystic love song. The whole album. Note: considering rereleases VII. Werner Herzog: [ For example, to create the music that is used in the opening of. This instrument has inside. The first of these tapes has the pitch. All these tapes are running at the same time, and there is a. F: Das hat - wie eigentlich alles im Leben - einen ganz normalen und unmystischen Anfnag.
Herzog war. Morricone und fand sie nicht. Eine gemeinsame Bekannte machte Herzog auf mich aufmerksam. Er rief. FF: Don't ask me about those confusing facts about my musical record career.
I'm not a part of that. The music industry has created these unfortunate circumstances. And if I would start talking about this in.
Ins of ar that. It wasn't sampled or anything. He painted these with different colours so he knew which keys he could play. It was the first such. New edition of this soundtrack album, replacing the now deleted Spalax That version only. Plus the same three "bonus" versions of "Spirit Of Peace" to round things out.
Florian Fricke was born by Lake Constance in From til;l he studied music in Freiburg and. At the age of 19 he gave up. At the age of 25 he became acquainted with the Moog.
Foreign travels took, hium, among others, to Africa and to. And in the eastern Himalaya he studied Tibetan communal. He once described his hobbies as the epics and myths of the various people as well as archeology.
Since Florian Fricke has been working with the director Werner herzog, whose films acquired increased. The independent nature of his music has continually proved to be a great. And this independence could already be.
FF: This is part of the same chapter. YOGA is an unauthorized release. Some Indian musicians visited. I'm playing harmonium, and organ. I think it was released in. Germany's s electronic scene as an influence. Munich-based Al Gromer Khan was actually there,.
His music is always a fusion of east. FF: It was different. Sometimes they're produced for Werner Herzog's work. Sometimes he came to my. When we are. Sometimes we have done in a very short day and night, time in studio at the end of production from. Popol Vuh , but sometimes he needs music from Richard Wagner. But Richard Wagner never made film. This is a compilation of. Did you choose the tracks? FF: It actually was Part Two of the original soundtrack. The actual film music, the way it was composed.
But I remembered some electronic pieces in my big, big, big,. Vuh album. A Herzog soundtrack from Rerelease of.
Florian has himself been making films. It was shot. The main role is taken by former model. Verushka, who plays a man. The premiere was in Munich on May 16th, three days before we met, and. It will be shown on German television shortly, and may even be shown in. He believes that the human voice is. His greatest joy, he. He feels closer to God, or rather his idea of. God, than at any other time now.
His music. Now is a time to be. Sound programming synklavier, recording and digital mastering by Ralph Graf Union-Studios. We have it difficult to realize that we are as human beings both - tangibly - individuals and yet an entity intimely. While policy and religons are bound to generate. Music - namelyt: popular music - most particularly has devoted itself to merging the stylistic trends from the.
Music is likely to express compassion. Nevertheless: it is just when the spirit of destruction is at its utmost that it is all the more indispensable tot. Darauf sind die mit Abstand poppigsten Aufnahmen, die es von popol Vuh je gegeben. F: Die Aufnahmen entstanden zwischen januar und April Und wenn man sich erinnert, war damals. Und die Frage kam uaf: wie kann man Betr of fenheit umsetzen im etwas, was dann nicht in blosser. Dahinter stand. In den USA z. Voraussetzung ist, dass sich der Musicmacher als ein.
F: Ich liebe afrikanische Rhyhtmen, ich liebe den einfachen Gesang von jemanden, der die Last auf einen. In der instrumentierung haben wir typische Momente z. F: Genau. Was nichts anders heisst, als das man dieses Lied mitsingen kann. Das ist sicher etwas Neues an der. Sample-Sounds, die wiederum von normalen, akustischen Instrumenten abstammen. Da ist also nicht. F: Ja, er hat wesentlichen Anteil an der Entstehung der Musik. Guido hat meine Ideen und Vorstellungen.
F: Daniel ist als Gitarist and percussion-mann seit rund 8 Jahren dabei, und Renate war die absolute. Vor knapp. Nachdem ich angefangen hatte selbst zu komponieren, habe ich mich mit Klassik nicht mehr. In den letzten 5 jahren habe ich. Dem habe. Ich habe diese CD als Mozartverehrer eingespielt, mit meinem eigenen Geschmack interpretiert, und ich. F: Nein, durchaus nicht. Es ist einfach nur eine. Ich kann auch nicht ganz von der hand weisen, dass meine.
Swing, auf Groove, durchaus auch einen Einfluss auf die Art hatte, wie ich Mozart interpretiert habe. What kind of background do they have, and what were they doing before they. FF: Maya lived in Yucatan in Mexico, and at different occasions she sent me some tapes where she was. I had listened to them and I had put it to the side, because in those days I was working with. After many years I listened to these. To be precise, my son Johannes, he actually gave me this tip to do this kind of record.
He said. She was a member of the Breathing Therapy Society group, but. FF: Guido is a bit younger than Frank and I are.
He has studied music at the Conservatory in Munich. And when we. But by working with him over the last couple of years we have come to a point. We are friends, we have a great understanding. Do you feel that this. FF: I have answered this question before; I always find new styles, different forms of playing, that I'm. The essence of my music remains the same. The forms are. It has been based on major events which were. Most of the recording was done live in. Bari Italy with about one hundred musicians.
Additional recordings were done in Munchen Germany. Messa Di Orfeo is released under a standard jewel box configuration, but with a full color 16 pages. It has been based on major events which were first happening in Italy.
Most of the recordings were done live in Bari, Italy with. Additional recordings were done in Munchen, Germany. With this CD,. Popol Vuh adds another major work to its constant search for the fusion of mysticism and music.
Music written and composed by Florian Fricke and Popol Vuh. VUH died on December 29th at his home following the result of a stroke suffered just before Christmas. Florian and his band Popol Vuh the name was taken from that of the sacred book of the ancient Mayan. Quiche Indians first came to prominence during the early seventies when Florian recorded the first ever. Since that time in , Florian Fricke and Popol Vuh have released in excess of thirty albums not.
The transcendental, visionary music of Florian Fricke will survive him for generations to come. The Kraut. Rock movement, those who appreciate New Age music, anyone who likes great music have lost a true. The musical entity of Popol Vuh was founded in when Florian Fricke,. Future Sound Experience was recorded in , but was given a very limited release making this a. Not only has this album been re-mastered for CD release, but it has also. The joy of Future Sound. Experience is that it seems to take the listener on an experimental journey through time Note: A collage of existing tracks taken from all over Popol Vuh 's recording career, all layered together without.
I don't mean sequenced together - I mean tracks literally. But no, that wasn't enough to sully the music. Someone no actual producer is listed has overlayed a single. Vuh Popol Vuh extract - part of 7.
Nothing exclusive as far as we can. Popol Vuh the Sound of Pearls. First CD issue of the original soundtrack to the Herzog masterpiece not to be confused with. Cosmic Popol Vuh tracks, mixed in with. Fricke In full lenght this track. Harmonies includes some of the most beautiful music Popol Vuh ever recorded.
Though the electronics. Hosianna Mantra includes much beautiful work by Fricke on piano and harpsichord, Conny Veit. The material is composed during the period of some of it released on record later and contains.
From: Cicada Records Newsletter ]. These are classic tracks that were written and released between and , including brilliant. The album also contains several new compositions which were. The album is a remix of eight tracks from Coeur de Verre and. On Sing, the original seven tracks are present with beefed-up bass lines, layered keyboards. Das Protokoll. Diese Bedienungsanleitung richtet sich an die.
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Regensdorf, April Dr. Look Inside: desite. Java und XML 2. Hauptvorteil der bit Technologie ist die rundum verbesserte Performance der Anwendungen und Mehr. Der Begriff Cloud. The influence of. The tidal admittance is. Since the admittances of the major tides are known they can be used to. The current velocities, relevant for Earth rotation studies, are provided as East and North. The currents are. Due to the fact that the prediction of Earth rotation variations induced by ocean tides, re-.
Tidal analysis generally amounts to a least-squares fit of sea level observations with. Harmonic analysis is based on the assumption that the tidal variations can be represented by. The unknown amplitudes and. As in the model representations 3. The number of estimable terms depends strongly on the length of the observed time series. An observation. The amplitude and phase. It is st and ard in tidal analysis to use the.
If the data period is too short to resolve certain constituents, their effect can be accounted for by. Commonly the amplitude ratio and phase lag of the weaker. In case there is no data. Disadvantages of the harmonic analysis are the dependence on the observation time span,. An alternative. The principle of the response method. The weights represent the re-. The approach can. To overcome this deficiency.
All quantities are actually valid for a certain degree n and order m, but the indices are dropped. Numerical values for the diurnal and semidiurnal. Using the orthogonal functions and restricting. They can be easily transferred to the in-phase and quadrature. The periodically varying ocean.
Thus the impact of ocean tides on Earth rotation is. OTAM can be split in two parts: a mass portion, arising from the mass displacements due to the. We use a spherical coordinate system with the coordinate components and derivatives. The first part of Equations 3. The double integral in the equations extends over the. Tidal elevations and current velocities are generally provided by the ocean tide models, with. Potentially the tide models also come with the undisturbed water.
The average density. Diurnal and semidiurnal ocean tides are the most important drivers of short-period variations. However, the quoted formalism is. Just in case of polar motion the FCN resonance has to be taken into. A general scheme for the derivation of high-frequency ERP variations from. These are globally integrated according to Equations 3. The OTAM. AMF, respectively, if a non-rigid Earth model is assumed. As it is a kind of st and ard procedure,. A formula for LOD variations derives from the combination of Equations 2.
G is as before the gravitational constant, A st and s for the. With respect to the terrestrial reference frame. The whole procedure of ERP model development can. The periodicity of the ocean tides is mapped one to one to the ocean tidal. Assuming the. C quoted in that article. The Earth rotation variations of the Model C are based on ocean tidal. The influence of minor tides and nodal modulations was considered in a later version.
The final model with In combination. In case of the conventional model the orthotide functions were. Moon and Sun exert gravitational attraction also on the mass particles of the atmosphere,. From long time series of weather data it was as yet only possible to de-. Much stronger tide-like patterns in atmospheric pressure and. The solar radiation cycle is determined. Accordingly, the basic periods of the so-called thermal or radiational tides are one solar day and.
Furthermore, several harmonics with positive and negative integer multiples. Because of their coher-. As the solar diurnal. All diurnal and subdiurnal thermal tides exhibit also seasonal.
It is. These effects emerge when admittances to the gravitational tidal potential. Small anomalies can then be found near one and two. Partly, these variations can be at-. Due to this coupling mechanism, the. St and ard models represent the diurnal and subdiurnal sea surface. According to Pugh. Effect of atmosphere tides on Earth rotation.
As for the non-tidal atmospheric effects, the influence of the atmosphere tides on Earth rota-. The two most well-known centers allocating such data,. Similar to the ocean tides, the Earth rotation excitation by the atmosphere can be expressed. It can be. The crucial parameter for the. The calculation of the motion term requires. Underst and ably, the. The study of atmospheric diurnal and subdiurnal tides necessitates of course also the con-.
The essential formalism. Another issue in the computation of atmospheric AMF is the h and ling of angular mo-. The IB hypothesis states that the. A non-IB reaction of the ocean would be the direct transfer of the surface pressure. The consequence. IB model is widely agreed to be valid for long periods and deep water areas.
For diurnal and. A more exten-. Still, the estimation of the semidiurnal harmonics. Atmospheric excitation from numerical weather data with higher. The high-resolution angular momentum functions. While the preceding chapters give the theoretical framework of Earth rotation and treat the. The first mea-. It is one of the most important.
Since a complete description of the func-. VLBI is based on the simultaneous observation of the microwave signal emitted by an extra-. This observation configuration is.
As the name very long baseline interferometry tells, the technique uses. But in contrast to a conventional interferometer,. In order to realize this, the radio telescopes are. To first approxima-. The two signal pieces are tagged with timestamps and recorded on magnetic. The hard disks are then transported to a special processing. Together with the time tag information this process renders the. A sketch of the measurement concept is shown in Figure 4.
The picture illustrates only a single baseline configuration, whereas routine VLBI experiments. A soli-. The number and distribution of the telescopes. That can be a densification of. The method allows for the determination of a. In fact almost any parameter that appears in.
The geodetic prime quantities are certainly the. It contains only three variables, the baseline vector b, the unit vector in source direction. Schuh, :. In the representation used here, the delay. The delay depends essentially on the distance between the two telescopes. Earth rotation variations from Very Long Baseline Interferometry. These quantities themselves are subject to variations determined by a multitude of factors. For solving the observation equation the baseline vector and the source vector have to.
Yet, as explained in Chapter 2, the coordinates of. However, details in terms of additional equations, thus the complete. For further particulars on the formulas refer. Recent general and also detailed information on the VLBI system.
VLBI experiments are conventionally interpreted and processed using the principles of least-. Such procedures require very accurate initial values or theoretical models,. Given that the delay is the basic observable of VLBI the whole a priori model is. Following Sovers et al. These are a geometric, an instrumental. The geometric delay comprises modeling of the wavefront shape, a so-called retarded base-. The calculation of the theoretical delay starts with the correction of the baseline vector, rep-.
Tectonic plate motion shifts the site positions. Deviations from the linear. In areas which were covered by large. Periodic crustal deformations are of tidal origin. Among them, the. A secondary tidal effect is. It is a deformation of the Earth crust due to an additional centrifugal po-.
The pole tide. Even though being partially kilometers inl and , observation. Minor site displacements are generated by atmospheric pressure changes and non-tidal ocean,. The reference points of the VLBI sites are defined at a physical or virtual intersection of the. For this reason a reference marker is not only influenced by deformation of the. The latter can be produced by thermal.
After the correction for all these station dependent effects, the baseline vector is rotated. To finally match the coordinates of the sources. The time delay for the. At this step the implications of the real receiver to. The signal is eventually modeled as a curved wave front. The latter measure is the already mentioned retarded baseline correction. It expresses the retardation of a signal propagating in a gravitational potential Earth , Sun,.
The geometric delay part in TCB is finally obtained, which. A further correction to. Instrumental delay consists mainly of components due to station clock instabilities, but con-. The frequency st and ards at the stations are. Therefore it is st and ard procedure to set one preferably stable in-. The clock model is for instance a quadratic polynom in time valid for the whole session. Atmospheric delay is one of the most sensitive and unpredictable parts of the VLBI model.
However, the atmospheric delay has two contributions, one of which is actually easy to han-. Related to signal propagation we have to distinguish between tropospheric and ionospheric. The ionosphere is the upper part of the Earth atmosphere, starting at about 80 km and mi-. For microwaves the ionosphere is a dispersive. This property allows to. As mentioned before, geode-.
This can be applied to the measured delay and the effects of the ionosphere. In contrast, the troposphere is a non-dispersive medium and hence the distortion of the ray. The troposphere is the lower part of. All substantial processes related to weather, clouding. With respect to a signal traveling in vacuum, the radio waves. The effective tro-. It is commonly. These parameters are essentially the partial pressure of dry air and the partial pressure of wa-. The tropospheric delay is consequently composed of a hydrostatic and a wet portion.
While the hydrostatic contribution can be computed rather accurately from surface pressure and. The element of uncertainty is there by the distribution of the water vapor above the VLBI site. In general the tropospheric delay is first modeled in local zenith direction and then transferred. The mapping functions account for. Such azimuthal.
More detailed information about mapping functions and gradients in VLBI analysis can be found. This is called a single session solution. For example it is not possible to estimate station velocities from one.
A global solution is obtained by accumulating the normal equation systems. Parameters common to many sessions, such as station coordinates and. The estimates of the reduced parameters cannot. Yet it is possible to obtain the estimated session-wise values. Of course also varying quantities such as EOP can be estimated as global.
These are then stacked for common epochs determined by the observations of more. However, this is only feasible for a limited time period, because the inversion. This section shall shed light especially on the determination of Earth rotation parame-.
Determination of ERP dem and s for the derivation. Equation 4. Earth orientation is embedded in the observation equation.
The transformation from TRF to. In case of UT1 the partial is. The proportionality relation of UT1 to the Earth rotation angle can be found in Chapter 5 of the. IERS Conventions A usual prerequisite for the convergence of least-squares adjustment procedures is the avail-. Initial values are needed for all parts of the functional. Since the introduced a priori val-. It was already mentioned in Chapter 2 that the celestial coor-.
A music which has found its audience during the last ten years. By the way, in I have bought from Florian the Big Moog he is playing here. It is still the focus of my equipment. Es wurde alles in einem Zug gespielt und aufgenommen. Die Platte wurde zwar kein Welterfolg aber sie hat eine ganz bestimmte Gruppe von Menschen in der ganzen Welt ausserordentlich angesprochen.
Like a first step for the band's genesis of the book "Popol Vuh"? FF: Yes, it had a double meaning.
Each title has to be open for associations. That is a creative offer. When a human being becomes a human being and is no longer an ape any longer. Is this right, or how do you feel about that? But you know that the way electronic instruments could be used in those days offered such fantastic opportunities to express oneself. There's no doubt about it that my music has delighted a lot of people who were into drugs or smoking or taking trips or whatever, that was part of our musical culture in those days.
And my music was especially geared towards this clientele. I did not make music for classical music lovers, but for people that were into contemporary, new music. But I did not make the music because of that. Florian speelt dan op de Moog en Holger speelt op tabla. Uren kunnen ze samen spelen. Hemelse geluiden, romantiese onderwater muziek. Ze hebben samen ongeveer dezelfde ervaringen gehad. Allebei zijn ze eens in het water gevallen en bijna verdronken.
Dat gevoel van het onder water zinken, dat uiten ze in huneindeloze sessies. Ze treden niet op maar ze hebben wel een elpee gemaakt die Affenstune heet. De muziek begint met een plons alsof je in het water springt.
Ze hebben de naam Popol Vuuh. Hun tweede plaat begint ook weer met water, maar op kant twee gaan ze te keer op een gignaties kerkorgel. Maar ik speel niet zo veel, soms maar een keer per jaar.
Florian is meer in mystiek gednteresseerd en in Boeda. Ik ben daar niet zo voor. Ik houd niet van theologie, leven na de dood. Het doodt de fantasie en de geest. Ik leef meer in het nu. The piano is more direct. People said I should continue because I could make money, but for me at that time electronics were over.
Gab es da schon Unterschiede in der Arbeitsweise im Vergleich zur ersten? Aber da gab es noch einen anderen Teil, der noch nicht getan war.
Was that record designed for that instrument? Was the Moog bought first, then you thought - make a Moog Sound record? GA: I should tell you the story.
So I came to Germany and I was specifically looking for someone in Germany that would have that kind of instrument. There were two people: Eberhard Schoener and Florian Fricke, who also happened to be direct neighbours out in the country.
House to house! The only two people in Germany who had this very expensive instrument! A Moog Synthesizer was 65, Marks at the time. So I had this idea of doing an album. There was another guy - Walter Carlos FF: [He did it] just before. This was a record of Bach [for the synthesizer] GA: We wanted to make an album, to create new sounds.
Because I envisioned the possibilities of that instrument on a long run. I knew that it would eventually take its place alongside other instruments, by the ability to create certain technical sounds, which until that time were not possible.
That's where he Florian came in. We were introduced by another filmmaker who brought us together. Florian was in the process of doing this album, and it was extremely hard to find a company [to release it]. Not even my own company, when it was finished, wanted to go for it.
We had to go through some strange changes! We took it to EMI in Cologne Until today this is his most legendary album, of all the albums he did, just because it was so new, so different. It was done for the purpose of making a Moog Synthesizer [record].
At thebeginning people did not accept it. Today we have had at least 55 different releases, in different countries and different labels. And other people have sampled this! FF: It was a fantastic journey to learn this Moog synthesizer. I didn't have any papers - there was no manual for how to run that machine! He was angry [? Robert Moog who invented the Moog. It was a strange beautiful journey. EP: So you were improvising on this mysterious instrument, for which you had no manual to operate FF: We have made, day and night, music!
I was always playing. I was working almost around the clock. Whenever I didn't sleep, I was just experimenting, trying to find Frank Fiedler was a very important man, especially at this time, he was there from the beginning. Later I come back to my old roots, back to the piano. I was learning piano music at high school. I was a good Mozart player. Please tell me what idea did you have before making these tunes, and were these tunes improvised in the studio?
FF: One is a song that was recorded live in a church, "Vuh. The last part of the song 7 was recorded in the studio actually, like most of our music has been recorded in studios, this was the Fender piano in the end.
Kyrie Hosianna-Mantra - 8 9 10 2 Das V. Was die musikalische Form und Gestaltung anbelangt, so gab es keinen Unterschied. FF: Yes, in a way it was a Mass, a church Mass. But not for church! A conscious reflection upon religious origin is included in this music, but not in particular to any religious groups. How did you meet them, and how did you come to play with them? Let's first talk about Conny Veit. How did you meet him?
FF: Actually, most of the musicians have always sort of found their way to me to play with me. GA: But this is how Conny started playing with you, he came to your house and you guys just sat down and played? FF: Yes, and he has did this every day. GA: And then Djong Yun, how did she come into the picture? FF: Djong Yun came to Munich; she is the daughter of a famous composer.
She got the melodies, she was listening to what we were playing and she heard the melodies and started singing with us. Yeah, we called it rehearsal! And then can you tell us something about the artwork? FF: In creativity there are not always reasons.
Some of the things are just flying straight through the window. But at that time I was especially interesting in using first the words, and then making music to the words, in other words there were existing lyrics that I wanted to add music to.
I wanted to convey the depth of meaning contained in a word, and then transform this into musical sounds, a from of musical expression. That is one way of composing music for me. I don't always do it, but on and off I keep having an interest in composing in such way. It has a dual meaning, "Hosianna" which is a religious Christian word, and "Mantra" from the Indian religion of Hinduism.
Behind all of that I was convinced that basically all religions are the same. You always find it in your own heart. It is made to touch your heart. That is why you can call it a Mass. A Mass for your own heart. FF: I do remember when you ask me about episodes. One of the episodes was that Djong Yun was combing her hair more than she was taking time to rehearse our music.
It was much more important to her personally to be pretty and beautiful for all of us. To look the way she felt comfortable in order to sing comfortably. We had absolutely nothing against that because she had very beautiful hair. Her hair is as beautiful as her voice. She was really a very nice, comfortable part of the group.
Her behavior and everything was very soothing. But in general this production was no different from all the other productions. I've always looked for the fact that whenever we make music, or we were producing music, that whoever is part of the group playing, is responsible for their own playing within that formation.
Groupies were not allowed. Have you heard about her from other friends? Musicians from other towns and cities that came to town came to Munich, by recommendation or desire or whatever, came by my house, and we were just jamming. One day Djong Yun came there. I was playing with Andy Fix, the guitar player, and he was talking about this incredible girl from Berlin, this singer from Berlin, and he said that I had to meet her.
That she was fantastic. I was working with Esther Ofarim in those days, but it didn't work out because she refused to sing Christian lyrics, being Jewish I guess, so she didn't want to interpret this kind of song.
Which I did understand. In those days there was not this competitive feeling among musicians, and the contacts were loose and open. People were just visiting each other for the sake of music, and not to discuss their recording contracts. In a certain way we were all hippies in those days.
What, in your opinion, does this album mean to you, and what position does this album take in the career of Popol Vuh for you? Personally, I still consider this music as incredibly beautiful. But very rarely do I listen to music that I have made in the past.
I'm always living with the music that I'm now realizing, or producing, or making, whatever. So I don't really dwell in the past, and I don't think too much of the past, I think more about tomorrow, the future, and what's happening right now. I do regret that today, because I think I haven't really done a good service with my own voice to my record. So it would have been nice if Djong Yun had been there. Musik Fricke - piano, spinett 12 D.
And that was the beginning of an extremely fruitful collaboration. We have practically made music since then without interruption, we have been playing together since then. We didn't change anything at all. Actually I was giving in so much on this album to the style of Danny Fichelscher, the music of Danny Fichelscher, that we have sort of stuck to this formula for the following seven years.
If your browser isn't listed, please consult its online help pages. Internet Explorer 6. Select Tools from the top menu. Choose Internet Options. Click Security. Click Custom Level.Tidal excitation of Earth rotation observed by VLBI and GNSS.