In ANAHATA, the internationally acclaimed harpist Gwyneth Wentink combines a 400-years’-old instrument  – the triple harp – with electronics in a bid to explore a new sound-world by means of the unique tuning system known as ‘Just Intonation’- which is the tuning of musical intervals as whole number ratios of frequencies. This project goes back to the earliest, most fundamental way that music was tuned. By re-adopting it in our time we gain a fresh artistic experience of the original mathematical relationships that exist between musical notes.

Together with a designer of interactive media, Beer van Geer, Gwyneth Wentink has been exploring innovative ways of transposing the patterns of musical/harmonic proportions through various visual means and by drawing on interactive media. These visual additions represent and complement the harmonic ratios’ energy in motion and through geometric patterns.


In the 5th century BC Pythagoras postulated that everything could be predicated and measured as rhythmic patterns or cycles. The mathematical proportions that he discovered in sound and its overtones such as the octave, the perfect 5th etc are found widespread in nature. These harmonies are based on whole numbers. For Pythagoras music is connected to all the natural phenomena around us and indeed to the entire cosmos. His  belief in the perfect natural and geometric order and in the predictability found within the harmony between notes resulted in music gaining an immensely influential role in society, extending to education, psychology, as well as to mathematics.

As music evolved over time, becoming ever-more complex in tonality, the tuning of  instruments according to this system of pure intonation turned out to be more and more problematic and in fact impossible for instruments that play chords. To accommodate greater flexibility a tuning system was invented in which the octave was divided into twelve equal steps, resulting in slightly adjusted ratios. This became a necessity to allow for  the complexity of harmonic music prevalent from the mid-19th century onwards. This tuning system of equal temperament is something we have become used to in Western music, so much so that it is hard to recapture the consternation and controversy that this new way of tuning caused when it was gradually introduced in the lifetime of JS Bach. 

Unlike equal temperament, just intoned intervals are not equally spaced, but then neither is the natural harmonic series. Just Intonation permits us to align the natural overtones produced by ‘just’ or ‘pure’ intervals in a unique way, and allows composers to bring out what makes each and every key unique. By reverting to Just Intonation and to exploring these alignments, Anahata is creating new (or ancient) sound-worlds and acoustic phenomena on the harp. As a result we can reacquaint the ways we listen to music and thereby enrich our perception of natural phenomena. It allows all of us, not just performers and composers, to new and inspiring avenues.

  •     Alchemy Pattern - George Brooks
  •     Circles - Gwyneth Wentink
  •     Sonata in Ishartum - Lou Harrison
  •     The Harp op New Albion / Land’s End - Terry Riley
  •     Spaces - Gwyneth Wentink
  •     "Meeting Point / Composition Nr 9 - Calliope Tsoupaki – Componist des Vaderlands
  •     Serenade - Lou Harrison
  •     Revelation / Tone Cloud I - Michael Harrrison
  •     ANAHATA - Gwyneth Wentink



Gwyneth is an international acclaimed harpist, cultural entrepreneur and arts advocate working across many genre and roles. 

She is founder of State of the United Arts, an arts think tank and performance platform which produced the audio visual productions Canto Ostinato and In Code. Canto ostinato Audio Visual has toured extensively in The Netherlands and in many cities as Tokyo, Sydney, New Delhi, Moscow and was chosen for the ‘Kingsconcert’ of King Willem Alexander and Queen Maxima of the Netherlands as well as for a performance during their state visit to Canada. 

 As a leading harpist both classical and experimental, Gwyneth Wentink has performed at world’s most prestigious stages as Carnegie Hall and Lincoln Center in New York, the Royal Albert Hall and Royal Opera Hall in London and the Konzerthaus in Berlin, among others. Many of today’s leading composers have written works for Gwyneth including Theo Loevendie, Marius Flothuis and Terry Riley. 

 Wentink holds a position as solo harpist of the Orchestra Revolutionaire et Romantique and the English Baroque Soloists under Sir John Eliot Gardiner. Praised for her versatility, Wentink introduced the harp into classical Indian music, and plays regularly with the greats like Pandit Hariprasad Chaurasia. 

 Wentink has won numerous prizes, including the Dutch Music Award, the highest distinction awarded to musicians in The Netherlands, the Israel Harp Competition and the Young Concert Artists Audition in New York. 

In 2019 Wentink has been appointed as new member of the prestigious Society of Arts in The Netherlands. The Society, falling under the Academy of Sciences, is The Netherlands’ science ambassador to the world and serves as an advisory body to the Dutch Government and focusses on the role of the arts in society and the relationship between science and the arts.

Since 2019 Wentink is professor of harp at the Conservatory of Rotterdam and Amsterdam. 


ANAHATA is a production and initiative of STICHTING HARP 


Gwyneth Wentink ( – harp/electronica, artistic director

Danielle Boelling – project management

Wouter Snoei (– recording engineering 

Beer van Geer ( – Interactive Experience & Website


With thanks to: 

George Brooks ( , Michael Harrison (, Terry Riley (, Xavier van de Poll (, 

Calliope Tsoupaki (, Jos Zwaanenburg (


With the generous support of:

Stichting Harp ( , Fonds Podiumkunsten ,  Prins Bernhard Cultuurfonds ( Amsterdams Fonds voor de Kunst (



ANAHATA  is a production and initiative of Stichting Harp. For questions, information or bookings you can contact: