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Kurt Schwitters’ “Ursonate,” written between 1922 and 1932 was the greatest sound poem of the 20th century. Below the fold, you can find 9 versions of it by sound artists from around the world. Schwitters was primarily known for his Dadaist collages and visual art works, but I feel that the “Ursonate” is the most important and significantly influential work he made. His own legendary recording of his work was lost for years. It finally turned up in an attic in Holland the late ‘80s. You can read more about the discovery here. You can view the wonderful score here.

Version 1: Kurt Schwitters’ original version of the “Ursonate”

1. einleitung und erster teil: rondo (21:58)

2. zweiter teil: largo (3:12)

3. dritter teil: scherzo - trio - scherzo (2:24)

4. vierter teil: presto - ablosung - kadenz -schluss (13:36)

Version 2: Canadian sound poet Christian Bök’s version of the “Ursonate” (the fastest version on record)

Christian Bök’s “Ursonate”

Version 3: Jaap Blonk’s first version of the “Ursonate” (1986)

1. Erster teil

2. Rondo allegro largo

4. Scherzo

4. Preto Finale

Version 4: Dutch sound poet Jaap Blonk’s second version of the “Ursonate” (2003)

1. Erster teil

2. Rondo allegro largo

3. Scherzo

4. Presto Finale

5. Cadenza Finale

Version 5: Finnish group Linnunlaulupuu’s version of the “Ursonate” (2005)

Ursonate

Version 6: Japanese sound poet Tomomi Adachi’s variations on the “Ursonate” (2001)

Schwitters Variations

Version 7: French sound poet Sébastien Lespinasse’s version of the “Ursonate” (2003)

Ursonate

Version 8: Ensemble Ordinature’s robot version of the “Ursonate” (undated)

1. Rondo allegro largo

2. Scherzo

3. Preto Finale

Version 9: Canadian composer Christopher Butterfield’s version of the “Ursonate” (undated)

1. Ursonate: Rondo Allegro (22’49")

2. Ursonate: Largo (4’31")

3. Ursonate: Scherzo (2’05")

4. Ursonate: Presto: Finale (13’16")