With Interiorem Lingua Alice Orpheus digs into a part of the Darmstadt school heritage and the reason why the young Karlzein Stockhausen chose to go to Köln. After Schönberg, many composers had understood that Schönberg’ revolution did not lay in an atonal world but in pantonal one meaning that it was not so much the death of tonality than the possibility of all tonalities. With multiple possible directions, every choice asked different questions. Some of the Darmstadt composers seemed urged by the question of notation, others like Karlzein Stockhausen or Herbert Eimert believed that the only way to escape a music that had already been made was to focus on the matter itself. It was the composer’s duty to actually shape it’s own sounds.
Using serial music principles by first building a musical idea or phrase, then choosing to apply different effects such as reverberation, volume, reverse, cut, affectation of pitch, Alice Orphheus with Interiorem Lingua follows the first steps of a Stockhausen in the world of electro acoustic music.
As a result a deeply abstract introspective music obeying to it’s one language.