Peter Breitenbach | Sound Artist https://peterbreitenbach.de Peter Breitenbach | Sound Artist Wed, 12 Nov 2025 15:00:33 +0000 https://peterbreitenbach.de en EVER GIVEN https://peterbreitenbach.de/EVER-GIVEN Wed, 16 Jul 2025 18:52:00 +0000 Peter Breitenbach | Sound Artist https://peterbreitenbach.de/EVER-GIVEN EVER GIVENA tipping-point revue by Helgard Haug with music from Barbara Morgenstern &amp; The Sea Beats (Barbara Morgenstern, Daniel Eichholz, Adham Elsaid, Peter Breitenbach) Theatre | Sound Design on Stage About EVER GIVEN is focusing on collapse. What if a person, an organism, an entire system can no longer continue as before? What if everything that previously seemed self-evident is suddenly disrupted? What happens during a standstill? The protagonists on stage are people who have experienced or sought a radical rupture - were confronted with a message, a stroke of fate, a diagnosis. With a nothing-goes-anymore! And yet the wheel keeps turning and turning: The narrative structure of EVER GIVEN is an experiment: This revue is not told with a clear beginning and end, but in a circular way. It is not a line - it is a circle. After a prologue, the piece threads itself into this ‘loop’ and returns to the beginning. The next evening threads itself into the following scene. The following evening into the one that comes after. We simply get on board. Into the merry-go-round. Each evening is threaded anew - at a different point. All sequences must be designed in such a way that they can be repeated in themselves. Everything goes round in circles and after the end it just goes on? What does it sound like when the world gets out of rhythm, what if the rhythm escalates and loops until the music piles up into a wall of sound and tips over into a new situation. [SOURCE] <img width="916" height="1221" width_o="916" height_o="1221" data-src="https://freight.cargo.site/t/original/i/51e226a1b79abe9183e710f011665823284fe1e9913362be311cb2ba60f475c9/IMG_3574.jpg" data-mid="240504408" border="0" src="https://freight.cargo.site/w/916/i/51e226a1b79abe9183e710f011665823284fe1e9913362be311cb2ba60f475c9/IMG_3574.jpg" /> With: Hana Hazem Arabi, Adham El Said, Michaela Groch-Fischer, LED and Marianne VlaschitsConcept, text, direction: Helgard Haug Composition: Barbara Morgenstern Live music: Barbara Morgenstern, Daniel Eichholz Live electronics: Peter Breitenbach Stage design and Costume: Evi Bauer Video art and Lighting design: Marc Jungreithmeier Dramaturgy: Maria Nübling, Henning Nass Research: Maria NüblingAssistant director: Birgit Allesch Assistant stage designer: Laura Schroeder Assistant costume designer: Olivia Lottersberger Artistic assistance: Lisa HomburgerIntership: Jule Bischoff, Noémi Juniki, Oriana Mucha, Güde Nissen Production management: Maitén Arns, Eva Luzia Preindl Touring management: Chloé Ferro Technical director Rimini Protokoll: Patrick TucholskiContainer ship video-footage: Christoph Schwarz(„Supercargo“ www.christophschwarz.net/supercargo) The Sea Beats: Barbara Morgenstern, Daniel Eichholz, Adham Elsaid, Peter Breitenbach A production of Volkstheater Wien and Rimini Apparat in co-production with HAU Hebbel am Ufer and Theater Magdeburg.Supported by the German Federal Cultural Foundation. Funded by the Federal Government Commissioner for Culture and the Media. The Sea Beats The Sea Beats von The Sea Beats   Recording: Alex Paulick Mix: Barbara Morgenstern Mastering: Ingo Krauss With: Hana Hazem Arabi, Adham El Said, Michaela Groch-Fischer, LED and Marianne VlaschitsConcept, text, direction: Helgard Haug Composition: Barbara Morgenstern Live music: Barbara Morgenstern, Daniel Eichholz Live electronics: Peter Breitenbach Stage design and Costume: Evi Bauer Video art and Lighting design: Marc Jungreithmeier Dramaturgy: Maria Nübling, Henning Nass Research: Maria NüblingAssistant director: Birgit Allesch Assistant stage designer: Laura Schroeder Assistant costume designer: Olivia Lottersberger Artistic assistance: Lisa HomburgerIntership: Jule Bischoff, Noémi Juniki, Oriana Mucha, Güde Nissen Production management: Maitén Arns, Eva Luzia Preindl Touring management: Chloé Ferro Technical director Rimini Protokoll: Patrick TucholskiContainer ship video-footage: Christoph Schwarz(„Supercargo“ www.christophschwarz.net/supercargo) The Sea Beats: Barbara Morgenstern, Daniel Eichholz, Adham Elsaid, Peter Breitenbach A production of Volkstheater Wien and Rimini Apparat in co-production with HAU Hebbel am Ufer and Theater Magdeburg.Supported by the German Federal Cultural Foundation. Funded by the Federal Government Commissioner for Culture and the Media. Co-co-co-co-collapsby Helgard Haug with music from Barbara Morgenstern &amp; The Sea Beats is a radio play based on the theater production EVER GIVENListen@ <img width="1134" height="242" width_o="1134" height_o="242" data-src="https://freight.cargo.site/t/original/i/347426dfd15cc556affa6c47bdb7d8f453beb921a628cf180906210d05303bab/Bildschirmfoto-2025-11-14-um-15.45.22.png" data-mid="240632942" border="0" data-scale="52" src="https://freight.cargo.site/w/1000/i/347426dfd15cc556affa6c47bdb7d8f453beb921a628cf180906210d05303bab/Bildschirmfoto-2025-11-14-um-15.45.22.png" /> With: Hana Hazem ArabiAdham ElsaidBettina GrahsHao Yang SunMarianne Vlaschits Drums: Daniel EichholzVocals: Adham ElsaidKeyboard and vocals: Barbara Morgenstern Sound design: Peter BreitenbachRecording: Michael KubeMusic recording: Alex PaulickTechnical realization: Sebastian Nohl and Peter Hamacher Idea, text, direction: Helgard HaugDramaturgy: Christina HänselA production of Westdeutscher Rundfunk 2025 First broadcast: November 8, 2025Length: 53:30 Many thanks to the Volkstheater Wien, the HAU Hebbel am Ufer, the Theater Magdeburg, and the Kulturstiftung des Bundes, which made the play EVER GIVEN possible, from whose material the radio play was developed. EVER GIVEN&nbsp;Performances Vienna, Volkstheater13. – 14.12.202425. – 26.01.202501. – 03.03.2025Berlin, HAU Hebbel am Ufer08. – 10.03.2025 All Right. Good Night. https://peterbreitenbach.de/All-Right-Good-Night Sat, 19 Mar 2022 21:44:51 +0000 Peter Breitenbach | Sound Artist https://peterbreitenbach.de/All-Right-Good-Night All Right. Good Night.A play about disappearance and loss by Rimini Protokoll (Haug) Theatre&nbsp;| Sound Design Invited to <img width="3204" height="2005" width_o="3204" height_o="2005" data-src="https://freight.cargo.site/t/original/i/a18f670b8979797ceff7701c8a8f1f0073bad50e96eeeae2876834ec151ccc77/1257-MTT-Wortmarke-RZ-2022schwarz-RGB.png" data-mid="136917541" border="0" src="https://freight.cargo.site/w/1000/i/a18f670b8979797ceff7701c8a8f1f0073bad50e96eeeae2876834ec151ccc77/1257-MTT-Wortmarke-RZ-2022schwarz-RGB.png" /> <img width="5087" height="2822" width_o="5087" height_o="2822" data-src="https://freight.cargo.site/t/original/i/7720e72b4dda32ef1b41e19c36cebc326072f6045c1a6680795249f3be8efdbe/22_Impulse_Logo_low_1C_black_01.jpg" data-mid="138361910" border="0" src="https://freight.cargo.site/w/1000/i/7720e72b4dda32ef1b41e19c36cebc326072f6045c1a6680795249f3be8efdbe/22_Impulse_Logo_low_1C_black_01.jpg" /> <img width="710" height="710" width_o="710" height_o="710" data-src="https://freight.cargo.site/t/original/i/6f9d1641e6e74ee17824289aa8a7aa3c96ee13fd81729708448e2728bfe064b3/BFS_TT22_Signet_RGB_web.png" data-mid="136917369" border="0" src="https://freight.cargo.site/w/710/i/6f9d1641e6e74ee17824289aa8a7aa3c96ee13fd81729708448e2728bfe064b3/BFS_TT22_Signet_RGB_web.png" /> <img width="472" height="472" width_o="472" height_o="472" data-src="https://freight.cargo.site/t/original/i/f4de4980a4c67cbd1717362cc21b12ccaa4e481d33dd34c0bd0deb94cdd0ab33/TH_Preistr_StueckHaug_2022.png" data-mid="156278075" border="0" src="https://freight.cargo.site/w/472/i/f4de4980a4c67cbd1717362cc21b12ccaa4e481d33dd34c0bd0deb94cdd0ab33/TH_Preistr_StueckHaug_2022.png" /> 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,&nbsp;Louise StöltingStage: Evi BauerVideo/Light design: Marc JungreithmeierSound design: Peter BreitenbachConductor: Premil PetrovićArranger: Davor Branimir VinczeDramaturgy: Juliane Männel Outside Eye: Aljoscha BegrichTechnichal direction: Andreas MihanResearch / Assistant director: Lisa HomburgerCostumes and Assistant stage designer: Christine RuynatSound Design Assistant: Rozenn LièvreAssistant Technical direction: David ScholzProduction management: Louise StöltingZafraan Ensemble musicians stage:Matthias Badczong (clarinet), Evi Filippou (percussion), Josa Gerhard (violin),&nbsp;Martin Posegga (saxophone),&nbsp;Beltane Ruiz (double bass)Zafraan Ensemble musicians recording:Josa Gerhard (violin), Noa Niv (trombone), Matthias Badczong (clarinet),&nbsp;Liam Mallet (flute),&nbsp;Martin Posegga (saxophone),&nbsp;Damir Bacikin (trumpet),&nbsp;Anna Viechtl (harp),&nbsp;Adam Weisman (drums),&nbsp;Yumi Onda (violin),&nbsp;Benedikt Bindewald (viola recording),&nbsp;Maria Reich (viola),&nbsp;Alice Dixon (cello),&nbsp;Natalie Plöger (double bass),&nbsp;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 <img width="4200" height="2800" width_o="4200" height_o="2800" data-src="https://freight.cargo.site/t/original/i/5dafe6274bdff72125a9c36db21f30abf043dc73cac7b98cf90964db2d062cc6/211215AllRightGoodNight_030_Merlin-Nadj-Torma.jpg" data-mid="136916001" border="0" src="https://freight.cargo.site/w/1000/i/5dafe6274bdff72125a9c36db21f30abf043dc73cac7b98cf90964db2d062cc6/211215AllRightGoodNight_030_Merlin-Nadj-Torma.jpg" /> <img width="4200" height="2800" width_o="4200" height_o="2800" data-src="https://freight.cargo.site/t/original/i/3379e5e3f7cf6f66106f24d8793c54a5d304fa9a42c513954ebf6a2be8b6f443/211215AllRightGoodNight_114_Merlin-Nadj-Torma.jpg" data-mid="136916081" border="0" src="https://freight.cargo.site/w/1000/i/3379e5e3f7cf6f66106f24d8793c54a5d304fa9a42c513954ebf6a2be8b6f443/211215AllRightGoodNight_114_Merlin-Nadj-Torma.jpg" /> <img width="4200" height="2800" width_o="4200" height_o="2800" data-src="https://freight.cargo.site/t/original/i/00b6d2bc9972320c28d424b696b82c049597e2d64c19e8cd4ba5d2cbbf7df12e/211215AllRightGoodNight_040_Merlin-Nadj-Torma.jpg" data-mid="136916057" border="0" src="https://freight.cargo.site/w/1000/i/00b6d2bc9972320c28d424b696b82c049597e2d64c19e8cd4ba5d2cbbf7df12e/211215AllRightGoodNight_040_Merlin-Nadj-Torma.jpg" /> Photos by Merlin Nadj-Torma Performances: Berlin, HAU Hebbel am Ufer&nbsp; &nbsp; 16. – 21.12.2021 Vienna, Volkstheater&nbsp; &nbsp; 30. – 31.03.2022 Mülheim, 47. Mülheimer Theatertage&nbsp; &nbsp; 19.05.2022 Essen, PACT Zollverein, eine Kooperationsveranstaltung von IMPULSE Theater Festival und PACT Zollverein.&nbsp; &nbsp; 14. – 15.06.2022 Frankfurt/Main, Künstlerhaus Mousonturm&nbsp; &nbsp; 21. – 23.09.2022 Ludwigshafen, Festspiele Ludwigshafen&nbsp; &nbsp; 06. – 07.12.2022 Chur, Theater Chur&nbsp; &nbsp; 09.02.2023 Hannover, Kunstfestspiele Herrenhausen&nbsp; &nbsp; 26. – 27.05.2023 Manchester, MIF&nbsp; &nbsp; 06. – 08.07.2023Zurich, Zürcher Theaterspektakel&nbsp; &nbsp; 27. – 29.08.2023 Santiago de Chile, Santiago a Mil&nbsp; &nbsp; 11. – 13.01.2024 Berlin, HAU Hebbel am Ufer&nbsp; &nbsp; 08. – 11.02.2024Taichung, National Taichung Theater&nbsp; &nbsp; 24. – 26.05.2024Strasbourg, Maillon, Théâtre de Strasbourg – Scène européenne&nbsp; &nbsp; 27. – 28.09.2024New York City, Skirball NYU&nbsp; &nbsp; 25. – 27.09.2025Baden, Kurtheater&nbsp; &nbsp; 06.12.2025 <img width="3648" height="2475" width_o="3648" height_o="2475" data-src="https://freight.cargo.site/t/original/i/4b1599361e37af47ce4fb088de918627aa970ce2961d47d2d382545d36bebe60/IMG_5248.jpg" data-mid="240573187" border="0" src="https://freight.cargo.site/w/1000/i/4b1599361e37af47ce4fb088de918627aa970ce2961d47d2d382545d36bebe60/IMG_5248.jpg" /> FUTUR 4 https://peterbreitenbach.de/FUTUR-4 Wed, 12 Nov 2025 15:00:33 +0000 Peter Breitenbach | Sound Artist https://peterbreitenbach.de/FUTUR-4 FUTUR4 by RIMINI PROTOKOLL (Haug and Wetzel) Theatre | Sound Design About What does one generation expect from the next? What legacy will be inherited? Is it even possible to compare the experiences of young people today with those from 50 years ago? And what about the youth of 50 years from now? One of the two protagonists of this documentary work comes from Transylvania and was bought out of Romania by the Federal Republic of Germany in the 1970s - “without a receipt”, without an option to return, disconnected from her own history. 50 years and many turning points later, she enters into a dialog on stage with an AI expert and various simulations of herself - modeled with AI on the basis of private and historical data. A science fiction that can be experienced. New futures are constantly being designed from the patterns of the past, questioning expectations and possibilities in equal measure. What does the ‘right to one's own past and history’ (Herta Müller) do to the ability to shape the future?What can, what does the next generation want to know? How will it relate to what was? How can it be measured against it as it approaches? What processes of change do cultural identities undergo? How are they disrupted, modified, contained? Every evening, the play cuts its way further into a present that was still the future during previous performances. Futur4 is the third part of a series of monologues following ‘Black Tie’ (2008) and ‘Quality Control’ (2013). <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/d7222cd5a72d162bb55354c6b1adae5aa32c9578c5222109c5148e91d3e6f57c/futur4-amamaxborchardt-9.jpg" data-mid="240570567" border="0" src="https://freight.cargo.site/w/1000/i/d7222cd5a72d162bb55354c6b1adae5aa32c9578c5222109c5148e91d3e6f57c/futur4-amamaxborchardt-9.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/c1fa8edd15d311cee207b15afe1aef23c2ebd7cd7042587e6341355c9ee356ec/futur4-amamaxborchardt-10.jpg" data-mid="240570438" border="0" src="https://freight.cargo.site/w/1000/i/c1fa8edd15d311cee207b15afe1aef23c2ebd7cd7042587e6341355c9ee356ec/futur4-amamaxborchardt-10.jpg" /> <img width="3000" height="2143" width_o="3000" height_o="2143" data-src="https://freight.cargo.site/t/original/i/058e6b1dbed17f1118de05ff0437721ff396d23b3e2c60d9892f4a122742cbfc/futur4-amamaxborchardt-1.jpg" data-mid="240570479" border="0" src="https://freight.cargo.site/w/1000/i/058e6b1dbed17f1118de05ff0437721ff396d23b3e2c60d9892f4a122742cbfc/futur4-amamaxborchardt-1.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/7a15c8bb0e5e3b6562ec62fa9ea588991f96c598e7e6565f65c95c6fef0c1e1b/futur4-amamaxborchardt-2.jpg" data-mid="240570513" border="0" src="https://freight.cargo.site/w/1000/i/7a15c8bb0e5e3b6562ec62fa9ea588991f96c598e7e6565f65c95c6fef0c1e1b/futur4-amamaxborchardt-2.jpg" /> Photos by (c) Maximilian BorchardtPerformances Wiesbaden, Hessischen Staatstheater Wiesbaden&nbsp; &nbsp; 03. – 05.05.2025Münster, Theater im Pumpenhaus&nbsp; &nbsp; 30. – 31.05.2025Sibiu, Sibiu International Theatre Festival / Teatrul Național Radu Stanca Sibiu&nbsp; &nbsp; 20. – 21.06.2025Berlin, HAU Hebbel am Ufer&nbsp; &nbsp; 04. – 05.10.2025 Stuttgart, RAMPE&nbsp; &nbsp; 09. – 11.10.2025 Surveillance Music https://peterbreitenbach.de/Surveillance-Music Thu, 20 Dec 2018 10:06:29 +0000 Peter Breitenbach | Sound Artist https://peterbreitenbach.de/Surveillance-Music Surveillance MusicPolygon, 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.&nbsp; <img width="1874" height="2355" width_o="1874" height_o="2355" data-src="https://freight.cargo.site/t/original/i/6dc54f6708f9c8014ee6e8b222164f7c50a6d02ffe48cc08a05a3dcc041685e6/The_wire_cover1.jpg" data-mid="31003357" border="0" data-scale="96" src="https://freight.cargo.site/w/1000/i/6dc54f6708f9c8014ee6e8b222164f7c50a6d02ffe48cc08a05a3dcc041685e6/The_wire_cover1.jpg" /> THE WIRE, June 2017:Scope Plus Huddersfield [...] notably Peter Breitenbach's Surveillance Music: Three electromagnetic induction coils suspended above a hard drive, whose gliding arcs translated the data's invisible fingerprint into an ominous seepage of buzzes, pops and hums. <img width="3456" height="2304" width_o="3456" height_o="2304" data-src="https://freight.cargo.site/t/original/i/cc62cf2a7e77b90c6853622325f7f42a2e8c7d9406eaf2e0f022eb1418617d0d/SM_von_unten_huddersfield.JPG" data-mid="31003355" border="0" src="https://freight.cargo.site/w/1000/i/cc62cf2a7e77b90c6853622325f7f42a2e8c7d9406eaf2e0f022eb1418617d0d/SM_von_unten_huddersfield.JPG" /> <img width="3456" height="2304" width_o="3456" height_o="2304" data-src="https://freight.cargo.site/t/original/i/34585b4aaeda7a1236130e03decb239097fc7fd2f3f8ab34a83ebc892d1b662c/SM_halb_total_huddersfield.JPG" data-mid="31003352" border="0" src="https://freight.cargo.site/w/1000/i/34585b4aaeda7a1236130e03decb239097fc7fd2f3f8ab34a83ebc892d1b662c/SM_halb_total_huddersfield.JPG" /> <img width="2592" height="1728" width_o="2592" height_o="1728" data-src="https://freight.cargo.site/t/original/i/bbd0af23035bb5438f4fdc95244c5956ab78e572a0cccb938d47da9e48c01ff5/SurveillanceMusicMics.png" data-mid="31003349" border="0" src="https://freight.cargo.site/w/1000/i/bbd0af23035bb5438f4fdc95244c5956ab78e572a0cccb938d47da9e48c01ff5/SurveillanceMusicMics.png" /> 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) Arcana Swarm https://peterbreitenbach.de/Arcana-Swarm Tue, 31 Mar 2020 09:18:32 +0000 Peter Breitenbach | Sound Artist https://peterbreitenbach.de/Arcana-Swarm Arcana Swarm by Kat Válastur Dance | Sound Design | Composition | Live Mixing <img width="5420" height="3614" width_o="5420" height_o="3614" data-src="https://freight.cargo.site/t/original/i/d5a9116f75b6e7db89126d5a26ffe28e415c8263a47030d5b7fd086a62a7027f/ArcanaSwarm__DorotheaTuch_1523.jpg" data-mid="65168321" border="0" src="https://freight.cargo.site/w/1000/i/d5a9116f75b6e7db89126d5a26ffe28e415c8263a47030d5b7fd086a62a7027f/ArcanaSwarm__DorotheaTuch_1523.jpg" /> “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.” -&nbsp;Frank Schmid, rbbKultur (21-11-2019) [Source] Concept, script &amp; 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&nbsp; Assistance choreography: Kévin Quinaou Production management: HAU Artist Office / Sabine Seifert Touring &amp; distribution: HAU Artist Office / Nicole Schuchardt Further Information &nbsp; ︎. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; 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: Berlin, HAU Hebbel am Ufer 20. - 23.11.2019 Paris, Théâtre de la Cité International, within the programming of Théâtre de la Ville 28. - 30.11.2019 Kortrijk, Next Festival 06.12.2019 Tunnel Ensemble https://peterbreitenbach.de/Tunnel-Ensemble Tue, 11 Feb 2014 15:40:59 +0000 Peter Breitenbach | Sound Artist https://peterbreitenbach.de/Tunnel-Ensemble 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.&nbsp; tunnelensemble.com <img width="2048" height="2048" width_o="2048" height_o="2048" data-src="https://freight.cargo.site/t/original/i/a65e67f77829d2b29fcebd315032078afaf2addec5801ca3cdcf662699bedf3d/tunnelensemble.jpg" data-mid="30892113" border="0" data-scale="98" alt="Photo by Charles Pons" data-caption="Photo by Charles Pons" src="https://freight.cargo.site/w/1000/i/a65e67f77829d2b29fcebd315032078afaf2addec5801ca3cdcf662699bedf3d/tunnelensemble.jpg" /> 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 ︎︎&nbsp; iTunes <img width="1440" height="720" width_o="1440" height_o="720" data-src="https://freight.cargo.site/t/original/i/218eef24865c36f902223bd7f0ea899a8b3db2ba712df887cb56f2c9943d18c4/Tunnel_Ensemble-believe-oben.png" data-mid="40667853" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/218eef24865c36f902223bd7f0ea899a8b3db2ba712df887cb56f2c9943d18c4/Tunnel_Ensemble-believe-oben.png" /> <img width="1440" height="720" width_o="1440" height_o="720" data-src="https://freight.cargo.site/t/original/i/f9e8d3d0599596af30351c5be4caa22fac80184cbf90772a0e443beacfcd8603/Tunnel_Ensemble-believe-unten.png" data-mid="40667854" border="0" src="https://freight.cargo.site/w/1000/i/f9e8d3d0599596af30351c5be4caa22fac80184cbf90772a0e443beacfcd8603/Tunnel_Ensemble-believe-unten.png" /> Tunnel Ensemble von Tunnel Ensemble /* half screen width */ .bc-wrapper { width: 50vw; max-width: 100%; } /* full width on small screens */ @media (max-width: 800px) { .bc-wrapper { width: 100%; } } Saxophone: Marc Vilanova Electronics: Peter Breitenbach &nbsp; 'Mina': Recording: Benni Grau, graumusic.de / Mix: Peter Breitenbach 'Rami / Göng': Recording &amp; Mix: Peter Breitenbach &nbsp; Photo: Veith Schmoll Cover Design: Carles Pons Performances: 2017 &nbsp;&nbsp; Radical dB Festival, Zaragoza (ES)&nbsp; Montage, Weimar (D) Nu R, Leipzig (D) &nbsp;&nbsp; 2015 &nbsp;&nbsp; Tokyo Experimental Festival, Tokyo Wonder City (Tokyo, JP) Sabaco Music (Tokyo, JP) Kid Ailack Art Hall (Tokyo, JP) Zeppeling Festival,&nbsp;CCCB&nbsp;(Barcelona, ES) Sirga Festival 2015, Flix (ES) SaxOpen - World Saxophone Congress and Festival, Le Shadok (Strasbourg, FR)&nbsp; CHUNK Exhibition _Sala S.S. Filippo e Giacomo (Brescia, IT) exhibits our video “Live @&nbsp;44Perills Art Sonor” SOUNDkitchen plays our pieces, Frontiers Plus Festival&nbsp;(Birmingham, UK) Fundació Antoni Tàpies (Art's Birthday), Barcelona (ES) Flatterschafft, Basel (CH) Staatliche Hochschule für Musik Trossingen (D) &nbsp;&nbsp; 2014 &nbsp;&nbsp; Radical dB Festival, Zaragoza (ES) 44Perills Art Sonor, Barcelona (ES) Workshop @ Concervatori del Liceu, Barcelona (ES)&nbsp; AUTOCENTER, Berlin (D)&nbsp; a.silent.room, Deutsche Bibliothek Helsinki (FI) Vapaantaiteentila, Helsinki (FI) Black Box, Musiikitalo, Helsinki (FI)&nbsp; &nbsp;&nbsp; 2013 &nbsp;&nbsp; MuTe Fest '13, Musikkitalo, Helsinki (FI) &nbsp;&nbsp; Pastorale https://peterbreitenbach.de/Pastorale Wed, 29 Mar 2023 16:01:01 +0000 Peter Breitenbach | Sound Artist https://peterbreitenbach.de/Pastorale Pastorale By Philipp Lachenmann Video | Sound Design About A moving film image à la "A Painting with Figures in a Landscape". A fallow area below a busy road, with a high-rise hotel ruin in the center behind it. Young people in kaftans are spread out across the square and a hill, talking or trying to get internet reception with their mobile phones. The characters in the landscape seem preoccupied with themselves. Ennui. People cross the pictorial space. The traffic flows. The sky is changing. A dog stands in the bush, almost motionless. In the background on different levels of the building structure you can see explosions, fires are spreading, the building is ablaze. Nobody takes notice of the inferno in the skyscraper. Big void meets big drama. The high rise ruin in Pastorale stood for 25 years as an abandoned housing structure, without history, unoccupied, fenced off and impassable. A temporary template for a hotel idea, an empty vertical conceived meeting place, still dominantly upright, like an oversized, lost, forgotten sculpture in space. In 2023, the construction works on the building have resumed to finish it into a hotel. [SOURCE] PASTORALE, 2018/2022 8K Digital Video 16:30 min Production Year: 2018/2022 Filmed October 2018 in Istanbul, Turkey. Finished January 2022. Project by: Philipp Lachenmann Camera: Emre Yalçın Camera Assistant: Hüseyin Acar Sound: Peter Breitenbach Digital Effects: Magda Tuzinkiewicz Geniuspark Istanbul Post Production: Till Beckmann Production: Çiğdem İkiışık Photography: Yvonne Wahl, Jan Ralske Produced by: Cultural Academy Tarabya, Goethe Institute Istanbul, Scenic View Production Thanks to Pia Entenmann, Çiğdem İkiışık, Jacobien Vlasman and Yousaf K., Momtaz K., Talash H., Saeed J., Arab J., Habib G., Yaqoob K., Kamran K., Abdul Q., Raoof M. PASTORALE © Philipp Lachenmann 202Sound The sound work extends the film’s observation into the acoustic field. It begins in realism — distant traffic, wind moving through overgrowth, the chirring of crickets, a dog somewhere far off — and slowly drifts toward abstraction. The tonal space follows the shifting light. The composition remains restrained, observational. It listens rather than comments, tracing the same quiet dissonance that defines the image: the coexistence of banality and catastrophe. Computermusik für Streichtrio https://peterbreitenbach.de/Computermusik-fur-Streichtrio Tue, 11 Feb 2014 17:05:57 +0000 Peter Breitenbach | Sound Artist https://peterbreitenbach.de/Computermusik-fur-Streichtrio 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.&nbsp; Recording of Computer Music for String Trio @LZ - Opening | Trossingen (D) 02.12.017 <img width="880" height="555" width_o="880" height_o="555" data-src="https://freight.cargo.site/t/original/i/fb641bab19fa9249188cd84d27435b1fd6cf7077d7e3596267c6d398db495b31/ComputermusikTotale2_o.jpg" data-mid="30892129" border="0" src="https://freight.cargo.site/w/880/i/fb641bab19fa9249188cd84d27435b1fd6cf7077d7e3596267c6d398db495b31/ComputermusikTotale2_o.jpg" /> <img width="4170" height="3092" width_o="4170" height_o="3092" data-src="https://freight.cargo.site/t/original/i/d8dd68fd49a129dd6d087bc9665d108adeeefc0a7e8afeeb1d374d933b19ea85/IMG_20171202_160121.jpg" data-mid="30892132" border="0" src="https://freight.cargo.site/w/1000/i/d8dd68fd49a129dd6d087bc9665d108adeeefc0a7e8afeeb1d374d933b19ea85/IMG_20171202_160121.jpg" /> <img width="2872" height="4177" width_o="2872" height_o="4177" data-src="https://freight.cargo.site/t/original/i/efde3715139e3f8663aecab7e70f061612458c4ab9856adbb3deb8c15ae812d0/IMG_20171202_160012.jpg" data-mid="30892133" border="0" src="https://freight.cargo.site/w/1000/i/efde3715139e3f8663aecab7e70f061612458c4ab9856adbb3deb8c15ae812d0/IMG_20171202_160012.jpg" /> Exhibitions: 2017 LZ-Eröffnung, Staatliche Hochschule für Musik Trossingen (D) 2014Staatsministerium Baden-Württemberg, Berlin (D)Außerordentliche Haltestelle, Museum Biedermann, Donaueschingen (D) 2013/14Gegenklänge, Galerie der Stadt Sindelfingen (D) Das Schloss https://peterbreitenbach.de/Das-Schloss Fri, 14 Aug 2020 09:40:32 +0000 Peter Breitenbach | Sound Artist https://peterbreitenbach.de/Das-Schloss The CastleAudio walk based on motifs by Franz Kafka Theatre | Audio Walk | Sound Design | Composition <img width="400" height="400" width_o="400" height_o="400" data-src="https://freight.cargo.site/t/original/i/d6d16c6c079c084df3dca9ba7621e8b03675d15e0ba25322f9da2e968b6f99f8/4566783K_400x400.jpg" data-mid="79878879" border="0" data-scale="26" src="https://freight.cargo.site/w/400/i/d6d16c6c079c084df3dca9ba7621e8b03675d15e0ba25322f9da2e968b6f99f8/4566783K_400x400.jpg" /> About “In the audio walk, the audience walks in groups from the theater towards the castle, accompanied by a guide. On the headphones, in a radio play recorded by members of the theatre ensemble, Kafka's world of novels unfolds and connects with the urban space, which becomes the backdrop. And so the familiar appears in a new light. The human rights road becomes a snowy landscape, the castle a palace. [...] And the closer we get to the castle, the more Kafkaesque the walk itself becomes.” [Source] Sound Design In sound design, we have focused on an immersive binaural experience, which leads to an entanglement of real existing and produced sounds. So to create moments of confusion and alienation that support the narrative from Kafka's novel "The Castle".&nbsp;The sound and music for this theatre play was created in cooperation with Sebastian Russ. Press “So for about three quarters of an hour you are completely with yourself in the stereo field, gliding in the group through the pulsating city and yet you are quite far away from everything because you are practically moving in the narrative.Above all, the technical solution is great: the radio play - known to be the "theater on the radio" - is superbly produced, with music and sounds that explore the limits of the entire stereo field [...].” (Nürnberger Nachrichten / Nürnberger Zeitung) [Source] “Fascinating: the audience keeps turning around spontaneously to see whether the particular sound comes from the city or from the headphones. […] Super!" (BR Hörfunk -&nbsp;Matthias Rüd)&nbsp;[Source] Director: Kieran Joel Stage and Costume: Justus Saretz Dramaturgy: Fabian Schmidtlein Sound Design: Peter Breitenbach, Sebastian Russ Artistic production manager:&nbsp;Greta Schmidt &nbsp; With:&nbsp; Yascha Finn Nolting -&nbsp;Audiowalkguide Josef K. Stephanie Leue&nbsp;-&nbsp;Vorsteherin Maximilian Pulst - K. Julia Bartolome - Wirtin Amadeus Köhli - Barnabas Raphael Rubino -&nbsp;Zwei Beamte Thomas Nunner - Vorsteher <img width="1240" height="698" width_o="1240" height_o="698" data-src="https://freight.cargo.site/t/original/i/5a64526f5a1d3877d68dc78243971065ad02ba0eab89a321e1090c7e60cb8b24/Audiowalk.jpg" data-mid="79877873" border="0" src="https://freight.cargo.site/w/1000/i/5a64526f5a1d3877d68dc78243971065ad02ba0eab89a321e1090c7e60cb8b24/Audiowalk.jpg" /> <img width="1240" height="826" width_o="1240" height_o="826" data-src="https://freight.cargo.site/t/original/i/a89455422d2d7e2f87ea2dd0b73a5f636bfd01425ce761f1ea5a9dcc6aacc79e/03_Audiowalk-Das-Schloss_.jpg" data-mid="79877875" border="0" src="https://freight.cargo.site/w/1000/i/a89455422d2d7e2f87ea2dd0b73a5f636bfd01425ce761f1ea5a9dcc6aacc79e/03_Audiowalk-Das-Schloss_.jpg" /> <img width="1240" height="826" width_o="1240" height_o="826" data-src="https://freight.cargo.site/t/original/i/e1aa994c9ca20f0ad405f6b96d51b6bb3c9c7612fd39f8dcbfd1d28928d262d7/04_Audiowalk-Das-Schloss_.jpg" data-mid="79877876" border="0" src="https://freight.cargo.site/w/1000/i/e1aa994c9ca20f0ad405f6b96d51b6bb3c9c7612fd39f8dcbfd1d28928d262d7/04_Audiowalk-Das-Schloss_.jpg" /> Fotos © Konrad Fersterer Performances: Staatstheater Nürnberg 14.07.2020 &nbsp;18.07.2020&nbsp;21.07.202022.07.202023.07.202012.09.202024.09.202002.10.202010.10.202017.10.202024.10.2020 Staat 3 https://peterbreitenbach.de/Staat-3 Mon, 19 Nov 2018 15:42:39 +0000 Peter Breitenbach | Sound Artist https://peterbreitenbach.de/Staat-3 Dreaming Collectives. Tapping Sheep.(State 3) by&nbsp;Rimini Protokoll Theatre | Compostion | Sound Design About 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. &nbsp;[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 &nbsp; 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 &nbsp; 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︎ <img width="1575" height="1071" width_o="1575" height_o="1071" data-src="https://freight.cargo.site/t/original/i/2b9c9425f0e819156c3f9309077e5dad005ff6bf2a4c164943a6b05591c3a4d7/G2kvpjBQ.jpeg" data-mid="30892147" border="0" src="https://freight.cargo.site/w/1000/i/2b9c9425f0e819156c3f9309077e5dad005ff6bf2a4c164943a6b05591c3a4d7/G2kvpjBQ.jpeg" /> <img width="1181" height="787" width_o="1181" height_o="787" data-src="https://freight.cargo.site/t/original/i/dee899710e6d032a6d6a22c8f897f29d08df2ca19e11f349224afd7943a68dec/XjUX_MxQ.jpeg" data-mid="30892153" border="0" src="https://freight.cargo.site/w/1000/i/dee899710e6d032a6d6a22c8f897f29d08df2ca19e11f349224afd7943a68dec/XjUX_MxQ.jpeg" /> <img width="1181" height="787" width_o="1181" height_o="787" data-src="https://freight.cargo.site/t/original/i/f64104e712b1fae52a172dc1f04abb082cdf471869950a0efa93fc85bf39241b/5awWEW0Q.jpeg" data-mid="30892146" border="0" src="https://freight.cargo.site/w/1000/i/f64104e712b1fae52a172dc1f04abb082cdf471869950a0efa93fc85bf39241b/5awWEW0Q.jpeg" /> <img width="1181" height="787" width_o="1181" height_o="787" data-src="https://freight.cargo.site/t/original/i/af271e3c164d47003f70d05ac0cdcfe5289ba857a7cde7a76078fbca802fd35b/JiUbrkVQ.jpeg" data-mid="30892150" border="0" src="https://freight.cargo.site/w/1000/i/af271e3c164d47003f70d05ac0cdcfe5289ba857a7cde7a76078fbca802fd35b/JiUbrkVQ.jpeg" /> <img width="3008" height="2008" width_o="3008" height_o="2008" data-src="https://freight.cargo.site/t/original/i/53a9020e180168c6485a06f2fb96a9045629c92ed0814bae93334d4ee861f084/Staat3_03.09_4.JPG" data-mid="30892152" border="0" src="https://freight.cargo.site/w/1000/i/53a9020e180168c6485a06f2fb96a9045629c92ed0814bae93334d4ee861f084/Staat3_03.09_4.JPG" /> Photos by Martin Merkur Book: Rimini Protokoll: Staat 1–4: Phänomene der Postdemokratie by Imanuel Schipper <img width="1534" height="864" width_o="1534" height_o="864" data-src="https://freight.cargo.site/t/original/i/a299ab01e4d282cee96982c562df7d9d14b0b415781669c66553efe21b0c7d62/Bildschirmfoto-2020-08-14-um-14.47.44.png" data-mid="79889420" border="0" src="https://freight.cargo.site/w/1000/i/a299ab01e4d282cee96982c562df7d9d14b0b415781669c66553efe21b0c7d62/Bildschirmfoto-2020-08-14-um-14.47.44.png" /> <img width="964" height="591" width_o="964" height_o="591" data-src="https://freight.cargo.site/t/original/i/4333b5370a0fae815ec637b2d2ba3621ad553f46aaf9f08b08d3f641227acbdf/HKW03.03-5net.jpg" data-mid="30892148" border="0" src="https://freight.cargo.site/w/964/i/4333b5370a0fae815ec637b2d2ba3621ad553f46aaf9f08b08d3f641227acbdf/HKW03.03-5net.jpg" /> Photo by Martin Merkur &nbsp;Performances: Dresden, Schauspielhaus Dresden 23.09. – 27.10.2017 10. – 12.01.2018 18. – 19.01.2018 Dusseldorf, Düsseldorfer Schauspielhaus 01. – 02.02.2018 Berlin, Haus der Kulturen der Welt (HKW) 01. – 11.03.2018 Zurich, Schauspielhaus Zürich 02. – 03.11.2018