Kurt Schwitters: Merz (2016) – Norman Rosenthal interviews Damien Hirst

‘constructivist’ period, which, also in Kurt
Schwitters’ collages, painting and sculptures,
extends from about 1923 to about 1928,
he slowly, but with great consequence and
concentration, builds up a totally abstract
‘sound-poem’, the famous Sonate in Urlauten
(Sonate in Primeval Sounds), the second
part of this I/p. The creative spark came in
1921, when, during a lecture tour to Prague,
Kurt Schwitters, for the first time, heard
Raoul Hausmann’s sound-poem fmsbw. He
immediately recognized the potentialities of
this new form of expression, and he recited it
constantly, during his lectures, as “A portrait
of Raoul Hausmann”.
Over the years the Sonata grew, both in
volume and variation, until it had little or no
resemblance to Raoul Hausmann’s original
poem. It was no more a poem, in fact, but
music — spoken by mouth! The original
fmsbw had long since become “fümms
böwötää zääuu — rögiff — kwiiee!”, and
was merely part of one of the many themes
of the Sonata, now. My father’s lively interest
in music helped him a lot, here.
I shall never forget those many ‘MERZevenings’,
where, as a four-, five-, six-yearold,
I used to have my regular place in the
centre of the front-row of seats, directly
opposite my father, marvelling openmouthed
at him. —
It was during these evenings, that the
Sonata grew. It never was read off a
manuscript, although, in its various stages of
development, it had been published in artmagazines
everywhere. But my father knew
it by heart, and preferred to improvise the
recital, as this gave him the chance to develop
it continuously. Thus a great many people
became witnesses of the slow development
of this unique piece of — shall we say —
‘music’ and/ or abstract poetry.
Kurt Schwitters had realised all along,
that a phonetic way of noting down the
Sonata was essential, if it should not die
with him. Ordinary notes, as used for music,
would not do here. With each successive
publication he improved on the form of
notation, and finally, in 1932, the Sonate in
Urlauten was published as his last number of
the MERZ magazine, no. 24. But, although
this is undoubtedly the most phonetic way
of notation to date, it is virtually impossible
to recite it correctly, simply by reading it. A
prime necessity is, that one has heard Kurt
Schwitters recite it as often as possible.
This is the reason why, ‘under pressure
from all sides’, I have finally agreed to try
to recite it as best I can. I am fully aware,
that my recital can, in no way, be compared
with my father’s. But then, I am only reciting,
not creating. I must not improvise! Moreover,
I have a different voice, particularly in
volume! Even though, as a lecturer, l am
quite used to speak concise, and to ‘cover’ a
large audience.
But you try to do it better! — There is, at
least, one point I have in favour of all others:
I have got the Sonate in Urlauten — so to
say — with my ‘mother’s milk’. I have heard
it at least 200—300 times! I have closely
followed it’s development. I have immensely
admired it, as I have admired my father. I
believe, I shall never forget the intonation
and pronunciation of it, as I also would never
be able to forget, how to walk! Anyhow, it is
the best I can do. —
Concurrent with the development of the
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