»ö ö«

Music, including text music, that influenced Beuys, music that he made himself, and music that others made about Beuys: Richard Wagner, Erik Satie, Marcel Duchamp, James Joyce, John Cage, Kurt Schwitters, Nam June Paik, Henning Christiansen, Peter Ablinger, Arturas Bums-teinas, Siegfried Koepf, Richard Rijnvo

trackliste:

^{erik satie – vexations 1 x (reinbert de leeuw – klavier)
john cage roaratorio – an irish circus on finnegans wake
erik satie – messe de pauvres: comune qui mundi nefas (martin rost – orgel)
richard wagner – parsifal: vorspiel (berliner philharmoniker – wilhelm furtwängler, 1938)
peter ablinger – piccolo und rauschen (natalia pschenitschnikova – flöte) 
marcel duchamp – erratum musical (for three voices)
john cage – music for marcel duchamp
(alexei lubimov – präpariertes klavier)
siegfried koepf – beuys goes pythagoras
henning christiansen – fluxorum organum op. 39. musik zu joseph beuys‘ eurasienstab  (franz meiswinkel – orgel der liebfrauenkirche düsseldorf)
kurt schwitters – ursonate (kurt schwitters – stimme)
joseph beuys – ja ja ja ja ja, nee nee nee nee nee 
arturas bumsteinas spielt joseph beuys – schottische symphonie
joseph beuys / nam june paik – in memoriam george maciunas 
john cage – the wonderful widow of eighteen springs  – nowth upon nacht}

^{(natalia pschenitschnikova – stimme, alexei lubimov – klavier) 
richard rijnvos block beuys – raum 3 
(ives ensemble, richard rijnvos, joseph beuys – stimme)
erik satie – le fils des étoiles: prelude du premiere act 1
(alexei lubimov – klavier)}

...it's not like I listen to concerts all the time... but logically a lot of other stuff that comes in through the ears, sheep instead of violins, piano Oxygen, speech operations, the purring of Paddy, Furguson, Spot and Arthur, funeral for a mouse, and Nescafé Gold, Yeah Yeah Yeah!

With Konrad Schnitzler, Charlotte Moorman, Nam June Paik, Henning

Christiansen, Terry Fox, Carlfriedrich Claus, Emmett Williams, Jackson Mac low a.o.

Tracklist:

^{Konrad Schnitzler – Eruption 1}

^{Jackson Mac Low – The Long Hot Summer}

^{Beuys / Christiansen – Schottische Symphonie. Requiem of Art.1973 (Ausschnitt)}

^{Terry Fox – Isolation Unit}

^{Henning Christiansen – Abschiedssymphonie}

^{Emmett Williams – A Cellar Song For Five Voices}

^{Nam June Paik / Russel Connor – Waiting for Commercials}

^{Henning Christiansen – Schafe statt Geigen}

^{Carlfriedrich Claus – Lautagregat}

^{Terry Fox – The Labyrinth Scored for 11 Different Cats}

^{Henning Christiansen – Konstruktioner}

milan Knížák: sound sources

Opening Performance Orchestra: electronics

The piece Broken Suitewill be released during this year on CD Aktual univerzita at Sub Rosa.

Like Joseph Beuys, who said you hear a sculpture before you see it, his contemporary and fellow artist Terry Fox considered sound to be sculpture. Fox is a pioneer in working with sound as a sculptural material. In his art, traditional sculpture is extended through performative action in a specific duration and in a defined resonant space.

An at least auditory impression of such situations is given by the three sound recordings of sound sculptures with long stretched piano strings in space presented here. The strings that Fox himself makes vibrate are both sculpture and instrument, and the sounds he produces are those of the resonating space as much as of the taut strings.

For "Suono Interno" (1979, track 1), Fox stretched two piano strings lengthwise through the entire nave in an empty church in Bologna. In the 14-minute excerpt from this work, released here for the first time (with many thanks to Marita Loosen-Fox, Estate of Terry Fox), Fox, walking very slowly through the wide resonant space between the church portal and the crypt, strokes the two colophoned strings with his fingers. In the following two recordings from Künstlerhaus Bethanien in Berlin (tracks 2 and 3), he plays long piano strings percussively minimalist with a chopstick at first, then with a resinated violin bow, creating an alternating strongly resonating in and out of the strings in the space. All sound recordings are excerpts from performances lasting several hours.

trackliste:

^{Suono Interno [Bologna 1979] – 14:24 Min}

^{Track 2: Attic Wire, Beating [Berlin 1981] – 24:44 Min.}

^{Track 3: Attic Wire, Bowing [Berlin 1981] – 15:07 Min.}

Die Tödliche Doris could be described as an invisible sculpture of which Beuys often spoke. Doris has no body. She forms in 1980 as a post-punk band with different lineups, liquefies in white wine in 1987 and celebrates her comeback in 2018 with the LP box Reenactment – The Typical Thing: 31 Sounds, 31 Drawings and 31 Reviews of 31 Different Vibrators. Doris herself, now in the form of many individual sex toys remains absent.

trackliste:

^Einführung

^{VibratingBullet / RO-80mm Ammunition for love}

^{Better Than Chocolate}

^{Tiani 2}

^Getaway

^Rave

^Flare

^Cayona

^Penguin

^{Tango Smartvibe}

^{Rub my duckie}

^{Motorhead Overkill}

^{Phoenix Magma Toy}

^Iris

^{Partner plus}

^{Womanizer 2Go}

»I went to Belfast in 1994 to begin an MA in Fine Art at the University of Ulster. I knew that Joseph Beuys had also been to Belfast in the 1970's and that he was a big influence on my tutors who had been students at the time. I believe his visit changed the way art was taught in Belfast with more emphasis on performance and social political issues and site specific approaches. I also realise that the Celtic World had a big influence on Beuys. He was inspired by the nature and mythology of western Scotland, Ireland and England. I thought I would delve into this world to compile a playlist for beuysradio. I have made a selection of my favourite singers from different generations with songs that touch on themes of nature and landscape, of humans and the animal kingdom and of love, loss and social justice.« Susan Philipsz

Tracklist:

^{Robert Burns – The Highland Widow's Lament}

^{Alasdair Roberts – Pangs}

^{Radie Peat and Darragh Lynch (Lankum) – Hares on the Mountain}

^{Alasdair Roberts – River Rhine}

^{Elizabeth Cronin – Lord Gregory}

^{Anne Briggs – Reynardine}

^{Alasdair Roberts – Under No Enchantment}

^{Shirley Collins and the Albion Band – The White Hare}

^{Luke Kelly and Dave Philips – Wild Mountain Thyme}

^{Alasdair Roberts – Coral and Tar}

^{Shirley Collins – My Bonny Cuckoo}

This playlist confronts Beuys’ understanding of shamanism with ethnological music and contemporary compositions. The central piece of this playlist is »Ström« by Swedish artist Carl Michael von Hausswolff. For this track, Hausswolff amplifies and subtly transforms the sound of pure electricity. It’s about energy, physicality and grain – while it reminds of the tiny sensors plugged in »Unschlitt/Tallow« (1977) from Beuys, making us believe that the paraffin wax is full of energy and that we should be careful not to get an electric shock when approaching the artwork.

tracklist:

^{Pan Sonic – Paine}

^{David Toop, Mabutawi Teri – Rain Song}

^{Raushan Orazbayeva & Tokzhan Karatai – Bashpai »Elim-Ai, Halkym-Ai« (Korkyt) (X-Xi Century)}

^{Cosey Fanni Tutti, Split – From The Album Tutti}

^{Daniel Schmidt And The Berkeley Gamelan – Rebab Delay}

^{Carl Michael Von Hausswolff – Ström}

^{Galya Bisengalieva – Tulpar}

^{Kali Malone – Sacrificial Code (Live In Hagakyrka)}

^{Holger Czukay – Breath Taking (With Karlheinz Stockhausen)}

^{Monks Of The Gandantegchinlen Monastery – Office Du »Qailangiyn Qural«}

^{Joseph Beuys – Sonne Statt Reagan}

^{Unknown – Kyrgyzstan - Koukou (Kiguatch Coz Komouz)}

The electro-acoustic composition is inspired by an early drawing by Beuys, »Plant« from 1947. 
Here, »Plant« implies not only the mother of all organism on the earth but also the verb »to plant«, and »Music« is the transporter and the transformer into alternated flow of time and entangled space. »Plant Music« invites listener to an imaginary world at dawn – the process of a seed growing, embraced in soil, water, air, and light, the communication between micro-organisms become tangible.

Fluxus is the art of hybrid flow, the aesthetic panta rhei of processuality. And »everything flows« also applies to the work of Joseph Beuys. This playlist meanders between the avant-gardes and pop - and culminates in a pop-avant-garde crossover of »U« and »E«: »Ü-Musik" in other words - and a little surprise is also contributed by Beuys student and free-sequence researcher Emil Schuldt and his Transhuman Art Critics with an original composition for »beuys 2021«. If you want to experience the »expanded concept of art« on a formal aesthetic level while listening: Why not run this almost one-hour playlist in parallel with the good one-hour piano duet that Joseph Beuys performed together with Nam June Paik in 1978 »In memoriam George Maciunas« – or else the simultaneous performance by the two Fluxus heroes of Coyote III / Pianovariation (1984).

tracklist:

^avant-gardes

^{John Cage – Williams Mix}

^{Phil Corner – Piano Activities}

^{Nam June Paik/Charlotte Moorman – Waiting For Commercials}

^{Dieter Schnebel – Bagatelle #6, Trauermarsch (für Joseph Beuys}

^Pop

^{The Velvet Underground & Nico – femme fatale}

^{Jefferson Airplane – Lather}

^{John Lennon – Instant Karma! (We All Shine On)}

^{POPAVANTGARDE}

^{Henk Badings – Evolutions (Ballet Suite) #1 Ouvertüre}

^{Kraftwerk – Ruckzuck}

^{Die Partei (Walter Dahn) – Tag An Der Grenze}

^{Conrad Schnitzler – Magic Party}

^{Joseph Beuys – Sonne statt Reagan}

^{Martin Kippenberger – ja ja ja ja ja, nee nee nee nee nee}

^{BONOS TRACK}

^{Transhuman Art Critics – Originalkomposition für »beuys2021«}

»If you’re really interested in music, you shouldn’t play the piano.« ^{(Joseph Beuys)}

This mix features a selection of tracks produced and released in West Germany during the diverse energy streams of the period 1978 – 1986, which set new, far-reaching musical impulses that are still effective internationally today.

From the late 1970s onwards, electronic musical instruments, such as synthesizers and rhythm machines, were available cheaply for the first time and inspired many who had no prior musical knowledge to indulge in futuristic sound experiments. The simultaneously exploding musical awakening of punk met with a new self-determined and self-confident research and performance in all areas of contemporary art.

Joseph Beuys, with his conceptual precision and his holistic social reorganization, was one of the most important impulse generators in the field of visual art during this time. Artistic activity, similar to punk and electronic music, was no longer linked to craftsmanship but strove for a complete redefinition of conditions and thus made a clear break with the understanding of art at that time.

Brian Eno said in 1975: »The musician today is no longer a trained instrumentalist, but an artist who makes decisions.«

Joseph Beuys also played a decisive role in the establishment of this new image of the artist.

tracklist:

^{Loch (Joseph Beuys 1981, in der Kunsthalle Düsseldorf) Tonaufnahme Stefan Schneider, 2010}

^{Conrad Schnitzler – Rhythmus 78}

^{Ralf Dörper – Kranke Menschen}

^{Konrad Kraft – Arctica 3}

^{Michael von Biel – Fassung Elektronische Musik}

^{Asmus Tietchens – TREKK}

^{Maria Zerfall – Wohin?}

^{Palais Schaumburg – Morgen wird der Wald gefegt (Live)}

^{MENTOCOME – B6}

^{CHBB – MauMau}

^{SEESSELBERG – Synthetik 1}

^{Ettlinger – bzw}

^{Reiko Kudo – Noise}

^{Kurzschluss – L’ inconnu}

^{Deux Baleines Blanches – Draht 6}

^{Dino Oon – map}

Beuys Keep Swinging is an hour long radiophonic odyssey of contemporary and ancient music and noises honouring the many moods of Joseph Beuys. Kick back and soak up the sunshine. From coyotes to krautrock, this is an immersive supersonic sound extravaganza!  

tracklist:

^{Todrick Hall – I Like Boys}

^{David Bowie – Boys Keep Swinging}

^{Charlie XCX – Boys}

^{Simone Battle – He Likes Boys}

^{Erik Satie – Gnossienne No 1}

^{The Waitresses – I Know What Boys Like}

^{Crosby, Stills, Nash & Young – Teach Your Children}

^{Monza – Rauf und Runter}

^{Orchestral Manoeuvres In The Dark – Electricity}

^{Joseph Beuys – Sonne statt Reagan}

^{Sabrina – Boys (Summertime Love)}

^{Can – I Want More}

^{Joni Mitchell – Coyote}

^{Organization – Ruckzuck}

What will music sound like in the future? Will the next pop star be an artificial human? Will science and technology drive composition? Will audio and video be inextricably connected in the metaverse? This playlist features contemporary artists exploring some of these questions in their creative practice. Human-machine-nature symbiosis, acoustic instruments producing electronic-sounding beats, virtual reality headset records…these are some of the aspects permeating this compilation. They explore unchartered territories and speculate about possible musical futures.

tracklist:

^{Byrke Lou – Earth}

^{Moritz Simon Geist – In g# (Katze läuft über Klavier)}

^{Brandt Brauer Frick – Masse}

^{Holy Herndon – Frontier}

^{Peaches & Pussykrew – Fill the Whole}

^{Ash Koosha – GUUD}

^{Yona – Art and Law}

^{Tarik Barri & Lea Fabrikant – Versum}

^{Nanotopia – Mycelial Networks between Reality}

trackliste

^{LITANIA / LITANEI [0.00’00’’]}

^{CERVI / HIRSCHE [0.06’26’’]}

^{IL CAMMINO DELL'ACQUA / DER WEG DES WASSERS [0.09’45’’]}

^{API / BIENEN [0.12’00’’]}

^{PIETRE (enclave celtica) / STEINE (keltische enklave) [0.17’09’’]}

^{RENANIA / RHEINLAND [0.19’52’’]}

^{CAPPELLO COME TEATRO / HUT ALS THEATER [0.20’21’’]}

^{NIDO / NEST [0.21’32’’]}

^{SIBILLE / SIBYLLEN [0.22’53’’]}

^{IL PASTORE / DER HIRTE [0.24’12’’]}

^{ANGELI / ENGELN [0.27’56’’]}

^{CONCHIGLIE GUSCI D’UOVO CORNA / MUSCHELN EIERSCHALEN
HÖRNER [0.30’26’’]}

^{IL CAMMINO DELL’ACQUA (calda) / DER WEG DES WASSERS (warm) [0.32’50’’]}

^{MUSICA POVERA (selig sind die armen) [0.35’00’’]}

^{COYOTE (un’idea del nord) / KOJOTE (eine idee des nordens) [0.38’00’’]}

^{SOTTOPASSAGGI / UNTERFÜHRUNGEN [0.39’47’’]}

^{FAGOPYRUM [0.41’07’’]}

^{ELEMENTA [0.42’38’’]}

^{IL CAMMINO DELL’ACQUA (fredda) / DER WEG DES WASSERS (kalt) [0.45’53’’]}

^{I CIGNI DI LOHENGRIN / DIE SCHWÄNE VON LOHENGRIN [0.46’40’’]}

^{CARNE DI MAIALE (BEETHOVEN) / SCHWEINEFLEISCH (BEETHOVEN) [0.50’10’’]}

^{INTUIZIONE / INTUITION [0.53’00’’]}

^{LA RUOTA / DAS RAD [0.54’19’’]}

^{LA FABBRICA POCO ILLUMINATA (pompa notturna) / DIE WENIG ERLEUCHTETE FABRIK (nachtspumpe) [0.55’15’’]}

^{MONUMENTO / MONUMENT [0.56’59’’]}

^{LA GOLA DEL LUPO MANNARO / WERWOLFSSCHLUCHT [0.58’29’’]}

^{LA LAVANDA DEI PIEDI (tiepida) / DIE FUSSWASCHUNG (lauwarm) [1h00’36’’]}

^{AL-KHIMIYYA [1h02’50’’]}

^{CUCINA / KÜCHE [1h07’58’’]}

^{AMFORTAS! la FERITA! / AMFORTAS! die WUNDE! [1h10’30’’]}

^{NELLA TORRE DEL MINOTAURO (liberazione) / IM TURM DES MINOTAUROS (befreiung) [1h12’04’’]}

^{LA LAVANDA DEL PUBE / DIE WASCHUNG DES SCHAMBERGES [1h13’43’’]}

^{medicinicamente / medizinisch [1h15’50’’]}

^{NON STUDIARE! / NICHT ÜBEN! [1h20’05’’]}

^{SCOZIA (l’arte dei metalli) / SCHOTTLAND (die kunst der metalle) [1h20’36’’]}

^{STREAMING HOCHSPRACHE (orecchie verdi) [1h22’12’’]
ogni uomo è un musicista / jeder mensch ist ein musiker [1h23’05’’]}

^{EURASIA [1h24’42’’]}

^{RITO DI PASSAGGIO / ÜBERGANGSRITUAL [1h27’35’’]}

^{GRASSO E METAFISICA / FETT UND METAPHYSIK [1h31’05’’]}

^{LA LAVANDA DEL VISO / WASCHUNG DES GESICHTES [1h32’25’’]}

^{MIELE (trasmutazione) / HONIG (transmutation) [1h33’32’’]}

^{IL COLORE DEL FELTRO / DIE FARBE DES FILZES [1h38’50’’]}

^{MEGALITHICA (anfore / amphoren) [1h40’28’’]}

^{CAVERNA (lete) / HÖHLE (lethe) [1h42’08’’]}

^{ORO / GOLD [1h43’32’’]}