Peter Breitenbach
is a sound artist, composer and sound designer whose work traverses sound installation, performative sound art, composition 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.


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


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

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


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


Gegenklänge, Gallerie 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.

Photo by Charles Pons

Work by Tunnel Ensemble
A film by Daniel Morales

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


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

︎︎  iTunes

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


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‹


Dreaming Collectives. Tapping Sheep.

(State 3)

by Rimini Protokoll

Theatre | Compostion | Sound Design


With their series State 1–4, Rimini Protokoll sets out to explore phenomena of post democracy. “Dreaming Collectives. Tapping Sheep” is one out of the four theater productions and is exploring potentials and dangers of the digitalisation for the processes of democracy.  [Source]

Sound Design and Composition:

The set-up consists of 120 mobile phones, which are networked via a server. From a compositional perspective, this network is forming a surround system with 120 discrete channels. This sound set-up is complemented by a quadrophony and by several speakers on the ceiling. During the play, spectators are asked to inquire about the phone's screen. The answers are selected via the touch screen and collected and analyzed by the artificial intelligence IRIS. Each of the answers is associated with a color and a sound. The statistical distribution becomes audible as sound transmitted by the loudspeaker of the phones. In addition, the corresponding colors are projected as a statistical distribution.

Sound example:

Concept, script, direction: Daniel Wetzel
Co-author: Ioanna Valsamidou
With: Kostis Kallivretakis, Vassilis Koukalani
Stage: Magda Plevraki
Software System Design and Implementation: Dimitris Trakas (VIRA)
Music, Sound Design: Lambros Pigounis, Peter Breitenbach
Light, Technical Director: Martin Schwemin
Dramaturg: Julia Weinreich
Director assistance, Research: Andreas Andreou
Assistance, Research: Annette Müller
Director assistance: Nora Otte
Stage assistance: Natasha Tsintikidi, Anna Alma Quastenberg
Assistance Szenographie: Guy Stefanou
Gui design: Renia Papathanasiou (VIRA)
Video-Animation: Grit Schuster
Video: Mathias Oster
Live Statistic Video: Caspar Schirdewahn
On the Video: Detlef Rohrmann
Voices: Rosa-Mathilde Muck, Oskar Loßnitzer, Zoï Wetzel
Production manager State 3: Violetta Gyra, Paula Oevermann
Project coordinator State 1-4: Jessica Páez
Third Eye, Dramaturg State 1-4: Imanuel Schipper
Production assistence Rimini Protokoll: Anna Florin
Intern: Mathias Oster, Caspar Schirdewahn, Dimos Klimenof, Vassilis Lianos, Konstantina Ypsilopati (CGS Athen)
Stage Manager: Normen Schäfer︎

Photos by Martin Merkur

Rimini Protokoll: Staat 1–4: Phänomene der Postdemokratie

by Imanuel Schipper

Photo by Martin Merkur