Popol Vuh (German:[pɔpl̩vuː])[1] were a German musical collective founded by keyboardist Florian Fricke in 1969 together with Frank Fiedler (sound design), Holger Trülzsch (percussion), and Bettina Fricke (tablas and production).[2] Other important members during the next two decades included Djong Yun, Renate Knaup, Conny Veit, Daniel Fichelscher, Klaus Wiese, and Robert Eliscu.[3] The band took its name from the Mayan manuscript containing the mythology of highland Guatemala's K'iche' people.[4]
The band's name, taken from the Mayan manuscript, has been translated roughly as "meeting place"[2] or "book of the community".[4] Their first album, Affenstunde, released in 1970, can be regarded as one of the earliest space music works, featuring the then new sounds of the Moog synthesizer together with ethnicpercussion. This continued for only one more album, In den Gärten Pharaos, and material later to be released on the soundtrack to Aguirre, the Wrath of God, before Fricke largely abandoned electronic instruments in favour of piano-led compositions from 1972's Hosianna Mantra forward. This album also marked the start of exploring overtly religious themes rather than a more generally spiritual feeling within the music. The group evolved to include a range of instruments: wind and strings, electric and acoustic alike, combined to convey a mystical aura that made their music spiritual and introspective.
In 1973, Conny Veit elaborated on the spiritual component of the group's music:
"I refrain from the classification 'church music', although I think it is entirely possible and appropriate that HOSIANNA MANTRA be used as music for church. I realized this record was actually about something else for me. With the means at my disposal I wanted to grasp the original Christian being and feeling in order to convey the correctness of elementary truths in the Christian word. Not as a preacher, but as someone for whom archaic ways of life seem more valuable and right than our own contemporary culture."[6]
Popol Vuh influenced many other European bands with their uniquely soft but elaborate instrumentation, which took inspiration from the music of Tibet, Africa, and pre-Columbian America. With music sometimes described as "ethereal", they created soundscapes through psychedelic walls of sound, and are regarded as precursors of contemporary world music, as well as of new age and ambient.[citation needed]
"Florian was and remains an important forerunner of contemporary ethnic and religious music. He chose electronic music and his big Moog to free himself from the restraints of traditional music, but soon discovered that he didn't get a lot out of it and opted for the acoustic path instead. Here, he went on to create a new world, which Werner Herzog loves so much, transforming the thought patterns of electronic music into the language of acoustic ethno music."[7]
Die Erde und ich sind Eins (1983) – limited private pressing
Florian Fricke Plays Mozart (1992) – featuring Fricke on piano playing Mozart compositions
Compilations
Note: there are two distinct issues of the compilation Best of Popol Vuh – Werner Herzog. These are distinct from The Best Soundtracks from Werner Herzog Films, though the selections of tracks overlap.
Perlenklänge: The Best of Popol Vuh (1976) – Ohr / Pilz / Kosmische Musik compilation
The Best Soundtracks from Werner Herzog Films (1991, 8 tracks)
Best of Popol Vuh from the Films of Werner Herzog (1992, 10 tracks), contains one track (titled "We Are Aware of the Misery") from the Herzog film The Dark Glow of the Mountains, which was previously unreleased
Sing, for Song Drives Away the Wolves (1993) – remix album
Movie Music (1994) – 3-CD set: Aguirre, Herz aus Glas, Nosferatu
Nicht Hoch Im Himmel (1998)
Future Sound Experience (2002) – remix album recorded in 1993 (according to its booklet) and released after Florian Fricke's death
