Searching for the resonances of falling spruce wood, Mittenwald 2012


Framed color public appeal and 7 responses in black A3 riso prints. The 7 call responses include self-composed poems, fragments from e-mail correspondence with Ursula Nistrup, scores for existing music, a drawing and a new composition. The exhibited responses are by Trami Nguyen, David Lieberman, Daniel Evaeus, Heinz Kreuzer, Andreas Pahler; the new musical composition is by Claire Singer and the drawing on musical notion paper is by Maria Diekmann.

20 copies of this public appeal were reproduced on an A3 poster, entitled Searching for the resonances of falling spruce wood, and placed on public notice boards in the German city of Mittenwald. Historically, this city has been, and still remains, an important center for cutting, treating and assembling string instruments of high quality. The appeal was distributed through artist networks as well as by means of a public call. When exhibited, Searching for the resonances of falling spruce wood still generates responses to its public appeal.














»– your mental images made me think of the pieces Encores by Berio for piano about the natural elements especially the first 4 pieces.
Here is the IRCAM database about the piece and composition datesDate de composition : 1965 - 1990
Durée : 12 minutes 
Éditeur : Universal Edition, nº UE 19918


Genre Instrument soliste [Piano solo]
Effectif détaillé
• piano


Observations voir chaque pièce séparément

Titres des parties
• Brin (1990)
• Leaf (1990)
• Wasserklavier (1965)
• Erdenklavier (1969)
• Luftklavier (1985)
• Feuerklavier (1989)


The Idea of this cycle is for Berio the occasion to evoke the elements natural elements, which combine poetic resonances and harmonic beauty within a lyrical approach. He's a one of the most important contemporary composers of the 20th century.
The four first are perfect for your research, enjoy them they are beautiful !«

Trami Nguyen






»– I must walk the forests ... in one of my other lives as a technical advisor to a custom woodworking shop, you learn that the precision of milling and responding to the behavior of the wood is perhaps more about listening to it pass through the machines as it is visually maintaining dimensional accuracy – the wood speaks and we must listen ... and listen even more carefully to a musical instrument ... and we slip into my stories of performance, the performativity of materials, the performity of space, and to the assertion that architecture is a performing art ...«

David Lieberman



»The falling trees often thump, and yet rarely one will have the qualities to touch our souls. It is a long journey from seedling, through the hands of the luthier, the musician and the melodies of life. Thump thump. Sing.«

Daniel Evaeus



»Every tree makes a different sound, when it is falling to the ground. This has to do with its size, length, and mass. Some contain more water than others, which does impact on sound. Besides this, there are some which really sound different and are treated differently and are the best for making of instruments. I can also hear this different sound when cutting trees with a chain saw – that’s not as romantic as the story about Stradivarius, but it leads to the same idea.I do not think that Stradivarius went to the forest himself. It was quite far from Cremona, and a stressful job to come up in the mountains. He was very busy at that time in his workshop and it is well known, that other makers in Cremona used wood from these same trees. This can be traced by Dendrochronolpgy research (Arjan Versteeg e.g.). Therefore it could be possible, that violin makers in Cremona bought wood from tone wood dealers, who worked through a similar system. But this is only a theory and not known for sure.«

Andreas Pahler



»Pines should be cut down in the thirteenth new moon of the year.

60 centimeter in diameter, she is 300 years old. A fine specimen.

That means, that this tree had to fight. It has not gotten any sunlight and only little nutriment. Therefore, it has been competing with other trees. In her first 150 years she could not grow branches. She put all her energy in the trunk, because she wanted to get to the light no matter what the price was.
This tree has grown slowly, hence her wood is hard and bright. It directs the sound better than fast growing wood. That makes it a good instrument tree.«

Heinz Kreuzer