None is an interactive sound installation created for the Theremin–pipe organ hybrid proximity-organ. It was commissioned for the exhibition It’s me, Toni at the Nordico Stadtmuseum in Linz, marking the 200th anniversary of Anton Bruckner’s birth .
The selection of tones was guided by an exploration of biographical parallels with Anton Bruckner and his 7th Symphony.
Within the exhibition, the proximity organ—affectionately referred to as the “magic organ”—formed a bridge to contemporary improvisation. Visitors were invited to improvise on three pipes (f, c′, and g′), using physical proximity to influence the airflow. This interaction allowed not only the fundamental tones to sound, but also overtones and microtonal shifts to emerge.
Like Bruckner, I experienced a profound personal loss early in life—the death of my father. The passage from the 7th Symphony that resonated with me during my process of sonic exploration expresses deep mourning and is said to have been composed in anticipation of Richard Wagner’s death. The three tones I used for None form the chord F5(add9), which consists of two pure fifths and a major ninth. The accord is neither major nor minor, and reflects a state of advanced mourning or emotional processing.
Historically, the Adagio from the 7th Symphony carries a heavy burden, having been broadcast on the radio following Hitler’s suicide, reportedly at his request. Bruckner’s music was held in high regard by the Nazi regime—though he himself died in 1896 and bore no responsibility for this later appropriation. Nevertheless, during his lifetime, the liberal German social climate gradually shifted toward German nationalism.
I want to clearly state here that I strongly oppose all forms of antisemitism and nationalism. My artistic engagement with Anton Bruckner should not be mistaken as an endorsement of his political views or the ideological (mis)use of his legacy.
„Why does the organ have pink hair?“
During the exhibition, over 20 workshops were held with Linz school classes and this was a question almost all of the children asked.
My answer was:
“Well, Mathias Lenz has pink hair. During our collaboration, I realized how much I enjoy his colorful presence. When I asked him whether he ever gets harassed because of his appearance, he told me about some truly nasty insults he had received.
But really, it’s our differences that make people interesting—the colors, the cultures. Just imagine if everyone looked the same—it would be incredibly boring.
That’s why the proximity organ has pink hair. It’s a statement for tolerance and diversity.”
Sound research
Tonal behaviour of an E4 pipe made of lead
This image shows the tonal behavior of the E4 pipe when played with increasing wind pressure. The X-axis represents the amount of air, as well as the sensor’s MIDI value, ranging from 0 to 127.
From left to right, the image visualizes how the pipe’s fundamental tone, E4, is first barely audible. This is followed by a sudden octave jump to E5, and then a pitch lowered by approximately 58 cents, corresponding to a D#4 minus 42 cents.
As the valve continues to open, the sound becomes progressively louder and higher, until—at full valve opening—the fundamental tone E4 is heard at full volume.
Tonal behaviour of an E3 pipe, made of zinc sheet
Pfeifen aus Zinkblech haben einen rauschenderen Klangcharakter. Durch die Möglichkeit die Luftmenge präzise zu steuern kann zwischen dem Oberton und dem Grundton kann Rauschen direkt angespielt werden.
A video of a live-performance of Heike Kaltenbrunner and Boris Shershenkov is in the making. Please come back in a bit. Your patience is greatly appreciated.