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Peter Breitenbach
is a sound artist whose work traverses sound installation, performative sound art and sound for theatre and dance. In his installations and performances he is investigating the relationship of movement and sound, through the development of software and hardware as part of sculptural objects and instruments.



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All Right. Good Night.

A play about disappearance and loss


by Rimini Protokoll (Haug)

Theatre | Sound Design


Invited to




and nominated for Friedrich-Luft-Preise 2022


About

“In 'All right. Good night.' Helgard Haug traces the disappearance, the search and the struggle with uncertainty - using the example of the missing airplane and the manifesting dementia of her own father. It is the protocol of an irreversible process. Music is the artistic medium with the greatest tradition in making the disappeared tangible. Be it through a requiem in memory of the deceased or through a choir, which already in ancient theatre appeared as a witnessing chronicler and reported on hardly imaginable battles and divine fortune.” [Source]

Press

Statement by the Theatertreffen jury:
The play is »sadly beautiful, highly concentrated mental theater dedicated to one of life’s big questions: disappearance and thus death.«

Concept, text, direction: Helgard Haug
Composition: Barbara Morgenstern
Orchestra: Zafraan Ensemble
Hands: Johannes Benecke, Mia Rainprechter
Speaker: Emma Becker, Evi Filippou, Margot Gödrös, Ruth Reinecke, Mia Rainprechter, Louise Stölting
Stage: Evi Bauer
Video/Light design: Marc Jungreithmeier
Sound design: Peter Breitenbach
Conductor: Premil Petrović
Arranger: Davor Branimir Vincze
Dramaturgy: Juliane Männel
Outside Eye: Aljoscha Begrich
Technichal direction: Andreas Mihan
Research / Assistant director: Lisa Homburger
Costumes and Assistant stage designer: Christine Ruynat
Sound Design Assistant: Rozenn Lièvre
Assistant Technical direction: David Scholz
Production management: Louise Stölting
Zafraan Ensemble musicians stage:
Matthias Badczong (clarinet), Evi Filippou (percussion), Josa Gerhard (violin), Martin Posegga (saxophone), Beltane Ruiz (double bass)
Zafraan Ensemble musicians recording:
Josa Gerhard (violin), Noa Niv (trombone), Matthias Badczong (clarinet), Liam Mallet (flute), Martin Posegga (saxophone), Damir Bacikin (trumpet), Anna Viechtl (harp), Adam Weisman (drums), Yumi Onda (violin), Benedikt Bindewald (viola recording), Maria Reich (viola), Alice Dixon (cello), Natalie Plöger (double bass), Florian Juncker (trombone)
In this excellent work, Helgard Haug has tuned into slow evanescence over a period of eight years. It gives the bereaved of the ill-fated flight – who have to live one day at a time without answers, to live without a body, without a burial – a chance to speak. And it tells of an existentially fraught disease with no chance of healing. What is the self? What does dignity mean? In his last email to the director, her father wrote, “Please stay in touch with me. Try to understand. And where possible, to forgive.” - Tagesspiegel










Photos by Merlin Nadj-Torma


Performances:

    16. – 21.12.2021
    30. – 31.03.2022
    19.05.2022
    14. – 15.06.2022
    21. – 23.09.2022
    06. – 07.12.2022
    09.02.2023

Upcoming:
    26. – 27.05.2023
  • Manchester, MIF
    06. – 08.07.2023

Surveillance Music

Polygon, inductional coil microphones, hard drive, pedestal



Sound Art | Sound Installation


One technology of surveillance of electronic devices is the inductive recording of electromagnetic fields. The extent of such intrusions was documented in the Snowden leaks and again in the “CIA Hacking Tools” released by Wikileaks in March 2017. These invisible techniques of accessing private data can be experienced in the installation Surveillance Music as sound. The installation consists of four parts: Polygon, hard drive, pedestal and inductional coil microphones. The white smooth polygon is floating two meters above ground, attached to three thin metal strings. It features speakers on the sides and black cables hanging down from three openings. Connected to the end of the cables are inductional coil microphones. These move vertically in the electromagnetic field of the hard drive, controlled by a computer and motors hidden in the polygon. The microphones transform the electromagnetic field into our range of perception and makes it audible through the speakers. In the process of making the electromagnetic field of the hard drive audible, the data on it is part of the sonic fingerprint and of the composition. The programmed movements of the inductional coil microphones form the music. The installation is looped. 














Recording of Surveillance Music @Scope Plus | Huddersfiled (UK) 18.03.017




Exhibitions:

2018 - Swinton Gallery, ln Sonora 10, Madrid (ES)
2017 - Scope Plus, Huddesfield (UK)
2016 - Galerie Wernert, Trossingen (D)
Mark

Computer Music for String Trio




Sound Art | Sound Installation


The installation is built up by three string instruments, that are suspended at the instruments heads. The instruments are arranged in a cycle with their strings pointing to each other. Between the instruments is a horizontal mounted bicycle wheel with embedded magnets on its outer edge. The wheel is rotated by a electric stepper motor. The steel strings of the instruments vibrate, when the magnets are passing the strings without getting in tough with them. This results in a dark, floating and oscillating sound cluster. Due to the long duration of the exhibition the string tension and thus the sound of the composed sound cluster is changing. The very outpointing aspect of the installation is therefore the combination of exactly planed and organized technology and time as a unplannable issue of composition. 







Recording of Computer Music for String Trio
@LZ - Opening | Trossingen (D) 02.12.017









Exhibitions:

2017
LZ-Eröffnung, Staatliche Hochschule für Musik Trossingen (D)

2014

2013/14
Gegenklänge, Galerie der Stadt Sindelfingen (D)

Tunnel Ensemble



Electroacoustic Music | Perfromative Sound Art


Tunnel Ensemble tries to open up new sound spaces through examining the relations between the saxophone and electronics. The duo was founded in 2013 at the Sibelius Academy in Helsinki, has played several concerts in Europe and Asia and a live radio concert at the “Art's Birthday 2015” in Antonio Tapies Foundation Barcelona. It won the “1st Prize at the International Contest of Soundart Performance” in Zaragoza 2014 and the “Encouragement Prize” from the Tokyo Experimental Festival 2016.
Tunnel Ensemble sees itself as a band working in a tension of improvisation and research. Peter Breitenbach developed a controller with different sliders and sensors and a custom software. Marc Vilanova explores the most unconventional registers of the instrument, rethinking each sound as a means which is processed. 


tunnelensemble.com

Photo by Charles Pons


Work by Tunnel Ensemble
A film by Daniel Morales


Tunnel Ensemble live performance
44Perills Art Sonor, Barcelona, ES



Release

Tunnel Ensemble / Tunnel Ensemble, Off - Record Label, 2017

︎︎  iTunes


Saxophone: Marc Vilanova
Electronics: Peter Breitenbach
 
'Mina':
Recording: Benni Grau, graumusic.de / Mix: Peter Breitenbach
'Rami / Göng':
Recording & Mix: Peter Breitenbach
 
Photo: Veith Schmoll
Cover Design: Carles Pons


Performances:

Arcana Swarm

by Kat Válastur


Dance | Sound Design | Composition | Live Mixing




“The sound, the objects, the diffuse light, the emotional states of suspension, the karst and exalted movements - all of this seems bizarre and puzzling, sometimes disturbing and frightening. And everything together results in the image of an obsessive-compulsive neurotic society - that seems to be its present diagnosis here. There is no well-tempered equilibrium, only states of constant excitement.
This is nothing new as a diagnosis, but it is accurate and perfectly staged by Kat Valastur in one of her most haunting pieces.”
- Frank Schmid, rbbKultur (21-11-2019) [Source]




Concept, script & choreography: Kat Válastur
Performance: Juan Pablo Cámara, Ixchel Mendoza Hernandez, Gaetano Montecasino, Ogbitse Omagbemi, Tamar Sonn, Sarah Stanley, Tiran Willemse
Light design: Martin Beeretz
Sound design: Peter Breitenbach
Set design: Leon Eixenberger
Costume: Kat Válastur
Dramaturgical advice: Einav Katan-Schmid, Maja Zimmermann Outside eye: Alexandra Balona / Yiannis Papachristos 
Assistance choreography: Kévin Quinaou
Production management: HAU Artist Office / Sabine Seifert
Touring & distribution: HAU Artist Office / Nicole Schuchardt

Further Information   ︎.                              




Video, editing: Kat Válastur
Music: Peter Breitenbach (Composition for ›Arcana Swarm‹)
Images, documentary photography: Richard Drew, Sebastiao Salgado, Robert Frank
Paintings, art works: Jan Van Eyk, Gian Lorenzo Bernini, Jacopo Pontormo, Théodore Géricault, Pieter Bruegel, intertwined with excerpts from the piece ›Arcana Swarm‹



Performances: