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


Dreaming Collectives. Tapping Sheep.

(Staat 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.

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


Evros Walk Water 1&2

by Rimini Protokoll

Theatre | Sound Design | Sound Sculptures | Mixing


“At the end everybody applauds but nobody can exactly tell why or to whom. (...) Evros Walk Water is a complex documentary, AN immersive audio piece installation that can be accessed by the audience with EASE because they BECOME familiar with these refugee stories in such a direct manner PARTICIPATING IN THE PERFORMANCE. This has been done so brilliantly that only afterwards you start thinking about how big the effort must have been to adjust all these elements with each other. AND it is even more brilliant that the theater makers have disclaimed any big drama IN THE PRESENTATION. (...) It is the human being that stands in the center here, and this is what we should keep about it”. (Rheinische Post) [Source]

Sound Design and Sound Installations

Evors Walk Water is a walk-in sound installation for 24 visitors. Sonically, there are two main elements. On the one hand stories and instructions that are played on headphones, and on the other 15 instruments, prevailing from everyday objects. On these instruments, „ ‘Walk Water’ (1959) – duration 3 minutes – by John Cage is being performed again and again. Yet in-between everybody changes their positions, again and again, as well as their viewpoints on the narrations of the kids, and the music performed on basis of their directions on the headphones.“ [Source]
Evros Walk Water 1&2
Cast: Abel, Aron, Ehsan, Jawad, Jined, Massoud, Moussa, Omer. As well as (german version): Alexander, Anna-Sophie, Arthur, Bela, Daniel, Haris, Jiannis, Justin, Kevin, Kriton, Noah, Noel, Philippos, Zoi, (english version): Andreas, Dennis, Elektra, Maria, Nefeli, Orfeas, Thodorish
Concept & Direction: Daniel Wetzel
Dramaturgy: Ioanna Valsamidou
Research: Konstantinos Kallivretakis
Research, Assistance: Nefeli Myrodia
Research (Sweden): Margarita Gerogianni
Set: Magda Plevraki
Set Assistance: Maria Kakaroglou
Sound Artist: Peter Breitenbach
Sound Artist Collaboration: Lampros Pigounis
Sound Support: Panos Tsagarakis
Light Design: Guy Stephanou, Michalis Kloukinas
Video: Ehsan
Flute, Kaval: Dimitris Brendas
Technical Director: Martin Schwemin
Production Management: Violetta Gyra, Juliane Männel, Heidrun Schlegel (Rimini Apparat)
Production: Rimini Apparat and Onassis Cultural Centre / Fast Forward Festival (Athens)
Coproduced by HAU Hebbel am Ufer, Berlin
Funded by the Berlin Senate Department for Culture and Europe - Department of Culture
Based on Evros Walk Water – a coproduction by TAK Liechtenstein, Schloßmediale Werdenberg and Rimini Apparat
Evros Walk Water 2 is based on Evros Walk Water
Concept & Direction: Daniel Wetzel
Dramaturgy: Ioanna Valsamidou
Research, Assistance: Konstantinos Kallivretakis, Ioanna Valsamidou
Set: Adrianos Zacharias
Set Assistance: Magda Plevraki
Sound: Peter Breitenbach
Sound Assistance: Panos Tsagarakis
Light: Roger Stieger
Consulting: Fotis Parthenidis
Translation: Bakar Albakar, Abbas Golbas
Production Mangement: Heidrun Schlegel (Rimini Apparat), Charlotte Streck
Assistant Production: Kostas Valsamidis
Coproduction: Tak Liechtenstein, Schloßmediale Werdenberg, Rimini Apparat
In Collaboration With: Polyplanity Productions

Photo by Martin Merkur

Photos by Daniel Wetzel

Video Documentation of Evros Walk Water