In for organ and digital oscillators, a church organ and digital oscillators come together. The instruments are played by Stefan Kägi and Pablo Lienhard, respectively. Their interplay is partly conceptually determined, but also largely improvised. At the moment, the two are creating a musical arc that takes the audience through various harmonic and dissonant soundscapes.
Aesthetically, their program can be classified somewhere between drone and new music. It is most closely related to composers such as Pauline Oliveros, who have explored active listening to sounds or deep listening: ambient noises, ventilation, the rustling of leaves, a long sustained tone, supposedly stationary sounds become the object of investigation and often offer the listening ear an uncanny wealth of information and depth. Or Éliane Radigue, who, for example, in Tryptich (1978), with incredible inner calm and meticulous, delicate manipulations, elicits sounds from her electronic instruments that develop within themselves. Both Radigue and Oliveros are, or were, very interested in the juxtaposition and mixing of acoustic and electronic sounds and are among the composers of electroacoustic music.