Sensory emptying through pleasure experience

Hans-Jürgen von Bose was at the peak of his career in 1990 - composing at his opera commissioned by the Bavarian State Opera. For this reason, we met for an interview relatively late, around 10 p.m., if I remember correctly - and it was to be about a comparison between his third string quartet and the music of Prince (whose popularity he also aspired to for his music). We started talking and talking and drinking and smoking and talking and laughing and slurring our words, and all the time the tape recorder was running and recording all our talk, whether it was profound or just drunken babble. Afterwards, I set about transcribing and carefully sorting all this - pasting sentence by sentence into the notes of the score (actually with scissors and glue) - in order to produce a programme in this way that had the claim not to abandon the energetic course of the string quartet (musical excerpts were replaced by original sounds of the same musical energy) - and I also tried to make Hans-Jürgen von Bose's idea comprehensible that only a bisexual society could be a peaceful society.

Taking up his own suggestion, I talked for about 5 hours with HANS-JÜRGEN VON BOSE about similarities and differences of his music (using the example of the 3rd string quartet) to the music of the pop star PRINCE.
Two topics were in the center: 1. does the steady beat hinder the perception or is it to stir below the belt? 2. androgyny and bisexuality as a music-aesthetic program?
The structural peculiarity of the broadcast: passages of the string quartet are exchanged by conversation excerpts/PRINCE songs of the same emotional quality, nothing of the statement of the string quartet is lost (plusminus).

First broadcast: April 20, 1990