gamut inc‘s AGGREGATE Festival Berlin : 11. – 13. Oct 2022

October 11th
Kapelle der Versöhnung, 7-9pm
festival opening and vernisage of the audio-visual installation CLASH/BLEND by Playmodes
free admission, no presale

October 12th
Kapelle der Versöhnung, 11am-9pm
audio-visual installation CLASH/BLEND by Playmodes
free admission, no presale
Gedächtniskirche, 8pm
concerts and artist talks by Ellen Arkbro, Adi Gelbart, Hampus Lindwall
moderation Hans Fidom

October 13th
Kapelle der Versöhnung, 11am-9pm

audio-visual installatino CLASH/BLEND by Playmodes
free admission, no presale
Gedächtniskirche, 8pm
concerts and artist talks by Jasmine Guffond, gamut inc, Mark Fell
moderation Thaddeus Herrmann


Digitalisation advances ever further into areas beyond the virtual – for the pipe organ, this opens up new artistic possibilities. All of the instrument’s parameters can now be controlled by computer via interfaces, while the sound is still created in the pipes of the organ. In this way, a meshing of instrumental and electronic music, the possibilities of which are largely untapped, can be achieved. The international concert series AGGREGATE exposes this potential for artistic innovation in organ music of the 21st century over seven evenings of concerts in Germany, Belgium, the Netherlands, Norway and Iceland. Composers with differing musical backgrounds and orientations have created new pieces for automated pipe organs, which will be realised on seven special but very different organs. Contemporary electronics, Neue Musik, avant-garde pop and noise music interweave with one another. Pioneering artistic strategies are explored, from purely automated organ concerts via combinations with instrumentalists to real-time control and synchronisation with electronics. AGGREGATE pursues the fundamental questions that computer controlled instrumental music poses: virtuosity and its overcoming, the limits of perception of highly compressed musical events, the crossovers and links between electronic and acoustic music, objective interpretation and the effects of mechanically precise reproduction.


The internationally renowned organs in Orgelpark Amsterdam, the Stavanger Concert Hall, Hallgrimskirkja in Reykjavik or in the Kunst-Station Sankt Peter in Cologne all offer unique technical and sonic possibilities. The number of pipes, timbres of the register, additional striking mechanisms, wind pressure control and the acoustics of the spaces are all very different. The organ inaugurated at St. Antonius in Düsseldorf Oberkassel in 2017 was one of the first in the world to make use of SINUA control technology, in which the registration of the instrument is radically reorganised. The full potential of the organ as a synthesiser unfolds through the instrumentation of the timbres and the selection of pipe sounds. Unrestricted automation of the register makes the creation of completely new tonal palettes possible.


The invited composers explore artistic stylistic devices that only become possible through programmability: automated changes in register, concurrency of different tempos, extreme density of events, complex polyrhythms, aural-physical phenomena, or sliding transitions between tonal, noise and rhythmic. Through automation, the characteristics of the pipe organ as machine and acoustic synthesiser come to the fore, uncovering innovative artistic positions between acoustic and electronic music. Automation, which was already being applied at the beginning of the 20th century, reaches a completely new quality through computer control. Control is now significantly more reliable, register changes and note durations can be adjusted in millisecond intervals, meaning that new acoustic phenomena can be created.


MIDI technology developed in the 1980s is means by which organs can be controlled by computer. Current technology enables MIDI notes to be created in real time and immediately checked on the instrument. Algorithmic composition programmes enable intuitive composition processes with a large amount of material. Thousands of notes and parameters can be generated and manipulated in the shortest of time. The computer-controlled organ is the provisional and logical climax in the development of the instrument, which has been continually updated using the newest mechanical achievements since its invention.

Aug 30 2021 | ZIONSKIRCHE | Panels with Hans Fidom (Orgelpark Amsterdam), Sinua, Elisabeth Hubmann; Talks with Arturas Bumšteinas and gamut inc | Moderation: Paul Paulun.
Aug 30 2021 | KAPELLE DER VERSÖHNUNG | Selected works by Conlon Nancarrow, arranged for organ by gamut inc (MIDI files: Wolfgang Heisig), and a new work for hyperorgan and electronics by Arturas Bumšteinas
Aug 31 2021 | AUENKIRCHE | Talks with Nils Henrik Asheim and Stefan Fraunberger | Moderation: Paul Paulun.
New works for hyperorgan by Phillip Sollmann and Konrad Sprenger, Stefan Fraunberger, Nils Henrik Asheim
Sept 1 2021 | GEDÄCHTNISKIRCHE | Talks with gamut inc, Jessica Ekomane and Seth Horvitz | Moderation: Paul Paulun. New works for hyperorgan by gamut inc, Jessica Ekomane, Seth Horvitz



Jan 25 2020 AGGREGATE:SUSTAIN @ Orgelnacht St. Antonius Düsseldorf
new works by gamut inc and Robert van Heumen

Feb 1 2020 AGGREGATE:SUSTAIN @ Kunst-Station St. Peter Köln
new works by gamut inc and George Rahi

August 13th 2020 AGGREGATE:SUSTAIN @ Auenkirche Berlin
new works by gamut inc and Robert Lippok

August 15th 2020 SUSTAIN @ Kapelle der Versöhnung Berlin
15:00 – 18:00 Installation by gamut inc

Jan 23 2021 AGGREGATE:SUSTAIN @ St. Antonius Düsseldorf
20:00 Telematic hyperorgan concert by gamut inc

Jan 30 2021 AGGREGATE @ Stavanger Concert House NORWAY
Telematic hyperorgan concert test by gamut inc

June 18 2021 Telematic Hyperorgan Concert @ International Symposium Orgelpark Amsterdam
gamut inc plays automated pipe organs in Berlin, Amsterdam, Stockholm and Düsseldorf

Aug 30 – Sep 1 2021 AGGREGATE Festival 2021 Berlin
Concerts & talks @ Zionskirche, Kapelle der Versöhnung, Auenkirche and Gedächtniskirche Berlin

Nov 13 2021 AGGREGATE @ Orgelpark Amsterdam
Concerts from gamut inc and Robert van Heumen

March 13 – 17 2022 AGGREGATE @ Palau Güell Barcelona
gamut inc prepares installation for the automatable organ in the Palau Güell for the Sónar Barcelona 2022

March 26 2022 AGGREGATE @ Orgelpark Amsterdam
Concerts from gamut inc and more

May 12 – Aug 9 2022 Residency @ Villa Kamogawa Kyoto | Goethe Institut
gamut inc works on new pieces at the Weimbs organ in Kyoto and on other organs in Japan

June 11 2022 AGGREGATE Kyoto @ Orgelpark Amsterdam / International Symposium 2022
Hyperorgan Performance with gamut inc and Jun Sagawa in Kyoto, to be presented in Amsterdam!

June 16 – 18 2022 AGGREGATE @ Sónar Barcelona 2022
Installation for the automatable Organ in the Palau Güell

Oct 1 2022 AGGREGATE @ Stavanger Concert House NORWAY
Concert with new works from gamut inc, Nils Hendrik Asheim and more

Oct 11 – 13 2022 AGGREGATE Festival 2022 Berlin
Concerts on 12th and 13th of Oct @ Gedächtniskirche with new works from Ellen Arkbro, Mark Fell, gamut inc, Adi Gelbart, Jasmine Guffond, Hampus Lindwall and Santi Vilanova.

Dec 2022 AGGREGATE Residency @ Logos Foundation Gent
gamut inc develops new pieces for Hybr and quarter tone organs

Review, Neue Zeitschrift für Musik, Aggregate Festival 2021



Mark Fell

Ellen Arkbro

Santi Vilanova / Playmode Studios

Jasmine Guffond

Hampus Lindwall

Adi Gelbart

Seth Horvitz aka Rrose / London (b.1973, Venice Beach USA) holds a BA in Cognitive Science from the University of California at Berkeley (1995) and an MFA in Electronic Music and Recording Media from Mills College (2010). He works as a composer and performer of experimental electronic and techno music since 1997 and released on international record labels such as Mille Plateaux, Plug Research and many more. Seth Horvitz‘s „Eight Studies for Automatic Piano“ are inspired by the work of James Tenney, György Ligeti, Charlemagne Palestine, and Conlon Nancarrow and makes use of computer-aided compositional processes to test the limits of human perception and machine precision. It relies on a bare minimum of technical means to explore notions of temporal distortion, iterative process, and elegant complexity. Presented in an immersive concert setting „Eight Studies“ questions traditional notions of live performance and musical ‚life.‘

Robert van Heumen / Hilversum is a composer and improvising musician using an extended laptop to perform highly immersive electro-acoustic music. As a musician, live sampling is his main tool. Van Heumen is continously researching new strategies and looking for the perfect balance between free improvisation and structured music. Van Heumen is performing regularly with Shackle (with electro-flutist Anne LaBerge) and various ad-hoc groups. He‘s using realtime audio-synthesis software SuperCollider and STEIM‘s live sampling software LiSa.

Nils Henrik Asheim / Stavanger (b.1960 Oslo, Norway) is a composer and organist. Asheim is educated at Norges Musikkhøgskole and the Sweelinck Conservatory in Amsterdam. His production comprises chamber music, orchestral works, musical theater and digital music. Since 1991 he has been active on the local music scene, having served as the director of the local branch of Ny Musikk (the Norwegian section of ISCM). In September 2012, Asheim was appointed organist at the Stavanger Concert Hall. His new work „House of sound“ a commission from the Norwegian Broadcasting Orchestra premiered on May 8, 2019 in Oslo.

Robert Lippok / Berlin is an electronic music composer based Berlin, after two decades performing with legendary trio To Rococo Rot. His work centres around creating installations, theatre and stage design for interdisciplinary performances, as well as a steady output of ambient techno experimentations.Born in 1966, Lippok studied stage design at Kunsthochschule Weißensee Berlin, before forming To Rococo Rot with his brother Ronald Lippok and Stefan Schneider in 1995. Lippok’s first solo EP Open Close Open was released on renowned label raster-noton followed by Redsuperstructure in 2011 and Applied Autonomy in 2018. Lippok also tutors at NYU’s Clive Davis Institute of Recorded Music and is part of the curatorial board of 4D Sound in Budapest, Hungary.

gamut inc / Berlin. Das interdisziplinäre Ensemble um die Computermusikerin und Architektin Marion Wörle und den Komponisten Maciej Sledziecki inszeniert Musiktheater und veranstaltet Konzert- sowie Festivalformate. Das Ensemble entwickelt eigene Musikmaschinen und setzt sich medienarchäologisch mit computergesteuerter Maschinenmusik auseinander. Gamut inc spielte auf Festivals wie CTM (D), Sonic Acts (NL), Achtbrücken (D), Numusic (NO), New Music Days Gdansk (PL).

Stefan Fraunberger / A, ist Komponist und Künstler. Er studierte experimentelle Computermusik an der Universität für Musik und darstellende Kunst Wien. Er beschäftigt sich regelmässig mit Orgeln in Wien und Transsilvanien. Seine Veröffentlichung „Quellgeister“, die an einer verwilderten Orgel in Rumänien eingespielt wurde, thematisiert die Grenze zwischen Natur und Kultur.

George Rahi / Vancouver (b.1987) is a composer, performer, and installation artist. He uses self-created & altered instruments as a method of exploring new relationships between sound, space, technology, and listening. Drawn to the tactile, mechanical, and sculptural realms of sound, his artistic works are frequently expressed as large-scale installations, electro-acoustic compositions, and works for theatre, and public spaces, notably for the Canadian Music Centre, Global Composition (Darmstadt), Vancouver New Music, and Insitu Recordings (Indonesia). He holds an MFA degree from Simon Fraser University and is the recipient of the 2018 R. Murray Schafer Soundscape award.

Jessica Ekomane / Berlin is an electronic musician and sound artist. Her practice unfolds around live performances and installations. Her quadraphonic performances, characterized by their physical affect, seek a cathartic effect through the interplay of psychoacoustics, the perception of rhythmic structures and the interchange of noise and melody. She hosts a monthly show on Cashmere Radio was part of the SHAPE Platform 2019 and her work has been presented in various institutions across Asia, Australia and Europe such as CTM festival, KW (Berlin), Ars Electronica (Linz), Dommune (Tokyo) and MUMA (Melbourne) or Venice Biennale. She released her first LP “Multivocal” via Important Records

Phillip Sollmann / Konrad Sprenger / Berlin. Phillip Sollmann ist seit 1994 als Musiker, DJ und Labelbetreiber und unter dem Pseudonym Efdemin in der elektronischen Musik aktiv. Er studierte elektroakustische Musik an der Universität für Musik und darstellende Kunst Wien. Konrad Sprenger ist Musiker, Komponist und Künstler. Zusammen konstruierten sie 2017 das „Modular Organ System“, eine midifizierte elektroakustische Musikmaschine, die auf ausgemusterten Kirchenorgelpfeifen basiert.

Arturas Bumšteinas / Vilnius (b.1982, Vilnius) is an artist working within the fields of performative sound art, radio art, installations, experimental acoustic and electronic music. Since the year 2000 he has collaborated with many international artists; In the year 2013 he was awarded “Palma Ars Acustica” prize for radiophonic arts. Bumšteinas was artist-in-residence at the DAAD Berliner Künstlerprogramm in the year 2017.


Hans Fidom leads the Orgelpark Research Program and is professor of Organ Studies at VU University Amsterdam. As a member of the managing team involved in the realisation of the Utopa Baroque Organ at the Orgelpark, he managed the building process of the instrument. It is a so-called hyperorgan: an organ that allows combining its sound resources in ways unthinkable before the start of the 21st century. Its sound concept, on the other hand, is historically informed: most probably, it would have reminded Johann Sebastian Bach of the organs he used to play in his day. Interlinking the artistic and the academic, Fidom’s research focuses on the activities of sounds and listening to them as pivotal aspects of music(king).

Elisabeth Hubmann studied musicology, classical studies, piano and organ in Innsbruck, Genève and Amsterdam. She works as an organist at Obrechtkerk Amsterdam, where she has performed several premieres of contemporary organ and choral music. She has recently been appointed organist of St. Paul, Genève. She is particularly interested in anthropological perspectives in music, historical and modern instruments, chamber music, performance practice, improvisation and interdisciplinary projects. In 2018 she co-edited a book on “Art as a Sociocritical Medium” and researches currently on hyperorgans and sound heritage, alongside her engagement with ethnomusicology.

Benedikt Aufterbeck is a trained organ builder and musician while Thomas Stöckl has a degree in music and many years of experience in electronics. Since 2007, the two founders of SINUA have been developing innovative hardware and software for church and concert organs. The two engineers are united not only by their love of music, but also by their love of experimentation and the drive to unlock the full sound potential of the organ with innovative methods and well thought-out control technology.

Paul Paulun regularly presents „Fundstücke“ at Deutschlandfunk Kultur, is a sound researcher, audio collector, author on sound-based topics and much more. He is active as a music consultant and dramaturge for film and theater productions and runs