© K. Klement

Klement Katharina

Compositions

# Title Year of Originsort icon Duration Instrumentation Category Sheet Music Shop
1 Schütten - für Violoncello. Gradation C 2018
2 Táku ehá huwó? Was hast du gesagt? 2017 20m
3 und alles licht in diesem ton 2017 20m
4 teils teils grell 2016 17m
5 "En Lumière" - music for the same named film 2016 9m
6 vessel 1.1 2016 12m
7 vessel 1.2 2016 ~ 40m
8 PLOT 2015 ~ 50m
9 in dem HIMMEL benannten Darüber 2015 ~ 34m
10 Drift 2015 ~ 13m
11 wie Tag und Nacht 2014
12 YOU and ME 2014 ~ 26m
13 lichte Sicht 2014 ~ 13m
14 Oh, wenn ich ihn hätt! 2014 4m
15 peripheries part I 2014 - 2015
16 fix five 2014 ad libitum
17 blanks 2013 20m
18 monde - ein Portrait unserer Väter 2013 63m
19 Schiff und Hut 2012 ~15m
20 soundscape Schrattenberg - for 10 mobile and 7 stable soundsources 2012 80m
21 einen Moment bitte 2012 ~20m
22 SPIN 2012 ~ 13m
23 Portrait 2011 ~ 12m
24 Solo 3 - for piano and 2 transducers 2011 ~ 12m
25 Brandung III - tape music stereo 2011 18m
26 Waldareale - for bass recorder and bass clarinet 2011 ~ 12m
27 5 Boote 20 Fische - soundinstallation 5-channel for five loudspeakers on 5 boats 2011
28 tempo giusto 2011 20m
29 Zwischen 1 und 2 - for microtone-organ and tape stereo 2010 10m
30 Was hängt das Leben tief wie Nebel überm Kukuruz - music for the theaterpiece by E.M. Binder 2010
31 Herzzeit - music for the reading performance 2010 33m
32 Solo 2 - for tape stereo 2010 5m
33 Hecke 2010 ~ 11m
34 noise:s onie - for violoncello solo 2010 ~ 4m 30s
35 noeud 2010 ~ 14m
36 Hole - in search of Opera without Opera 2010 - 2011 ~ 60m
37 project FROTH (Future Archeologies of Love and Power) 2010 10m
38 1/8 vom 3/4 Tag - for piano, recorders, electronics, video 2010 2m 15s
39 quatuor à trois - for any trio ad libitum 2010
40 Accordance - für Neo-Bechstein-Flügel und Elektronik 2009 17m
41 Batthyány - for alto- and tenor-recorder, piano, electronics 2009 17m
42 Tschitrakarna - for piano, small organ, electronics 2009 ~ 20m
43 cows caused chaos - for 15 instruments 2009 10m
44 Jalousie - for saxophone quartet 2009
45 route retour - for voice solo 2009 13m
46 Summer 2008
47 chaotic bands in canonical form 2008 12m 20s
48 mihrab 2008 12m
49 mute - for recorders, piano, electronics, video 2008 30m
50 t(w)o wanderers 2008 41m
51 RE:next 2007 ~ 50m
52 granular 2007 51m
53 Technische Studien 2007 ~ 20m
54 anneau 2007 ~ 8m
55 Erscheinungsbilder 2007 39m
56 zones de tension 2007 ~ 15m
57 roze 2007 11m
58 bazilicon 2007 15m
59 los autodisparadores 2007 ~ 15m
60 ein Baum. der Regen.draußen. die Erinnerung. 2006
61 none-pareil 2006 19m
62 ein Baum. der Regen.draußen. die Erinnerung. 2006
63 verse 2006 15m
64 in a mad mood, madam. 2006 17m
65 0.110.1001. - soundinstallation stereo 2006 7m
66 Auto - collective compositions with "Los Autodisparadores" 2006 34m
67 schneEFaHrBahn 2005 ~ 8m
68 dass i nur wia wal i immer 2005 12m
69 Dreh 2005 10m
70 linkerhand und rechterhand 2005 12m 30s
71 par 2005 11m
72 Aber in der Mitte der Himmel der Gesänge 2005 15m
73 Mandel Mantel 2005 17m
74 88 2004 56m
75 reell leer 2004 8m
76 gleich und gleich 2004 17m
77 Vermessung 2004 ~ 48m
78 Samurai 1-7 2004 ~ 1h
79 AREALE - for 2 pianos and 4-channel playback 2004 53m
80 KHK-Trio - Samurai 1-7 2004 ~ 60m
81 soundog - soundog 1-5 2004 - 2006
82 USE 2004 - 2008
83 Vermessung - collective compositions with "Los Autodisparadores" 2004 26m
84 wirbel, 1:2, (die) nase, gobi 1803, zersägtes grün, prozess, spalt, rotes kraut, 1:1, isabel, nicht ohne 2003 ~ 43m
85 Zeiteinknistern und 2003 ~ 47m
86 Santa Fe, Yokohama, Sydney, Kapstadt, Ulan Bator, Zagreb 2003 ~ 40m
87 atem 1 2003 ~ 15m
88 Toccata / Intention I / Intention II / pro intemperiis / intension / obstaculum oder 2003 ~ 40m
89 weiß - unweiß 2003 ~ 11m
90 atem 2 2003 ~ 15m
91 Bartherapie I/II/III, Baader-Meinhof, tiefe Mitte, falscher Hase, geschütteltes Reh, gewürfeltes Reh, bis 21, 5 Gramm sind erlaubt 2002 ~ 50m
92 solo 1 2002 ~ 10m
93 so streng wie möglich 2002 21m 30s
94 Torso 2002 ~ 20m
95 Spiegelungen 2002 ~ 17m
96 zwischen einem Sessel 2002 ~ 50m
97 schale, bewegung 1 / 2, fuelle 1 / 2 / 3 2002 31m
98 Punkt/Kontinuum, Attacken, Zustand 1-3 - für Klavier und Schlaginstrumente 2002
99 monocle 2002 - 2003 ~ 43m
100 W 2001 ~ 20m
101 Steinweg 2001 ~ 24m
102 Dokandili 2001 20m
103 Beton 2000 46m
104 absences 2000 ~ 15m
105 concert trouvé 2000 ~ 1h
106 strange loops 1999 5m 30s
107 moments élastiques 1999 9m
108 local times 1999 12m
109 fahrspuren 1999 28m
110 scope 1998
111 lauter Laute 1998 ~ 13m
112 Ströme 1998 20m
113 klement/novotny 1-8 1998 18m
114 Monde 1997 20m
115 Prinzip i 1997 ~ 30m
116 Textur 1997 ~ 1h
117 kinema 1997 8m 30s
118 Brandung II - Tonbandkomposition 2-Kanal 1996 16m
119 timing - Tonbandkompositon 4-Kanal 1996 8m
120 Sieben Variationen über Webern op. 27/2 - für Violine, Tenorsaxophon und Klavier 1995 20m
121 Heimat - für Vokal- und Instrumentalensemble und Lautsprecher 1995 ~ 15m
122 Polka - für Flöte, zwei Violinen, Klarinette, Kontrabass und Klavier 1994 4m
123 Dreizehn Miniaturen - für Tonband 8-Kanal und Klavier 1993 1h
124 Gestentanz - Tonbandkomposition mono 1992 10m
125 Brandung I - Tonbandkomposition stereo 1992 7m
126 David und Goliath - Tonbandkomposition stereo 1992 5m 30s
127 Neun Nonnen - Tonbandkomposition stereo 1991 7m
128 Durchgänge - Komposition für zwei gleichzeitig laufende 4-Kanal Tonbänder 1991 18m
129 Bardo I-VI - Sechs 4-Kanal Tonbandkompositionen 1991 25m
130 ohne Handschuhe - für Klavier und Tonband 1990 7m
131 Bach - Elektroakustische Komposition 1989 12m 30s
132 Grace - für drei Elektrogitarren, Klavier und Percussion 1988 ~ 7m
133 Vier Stücke für Saxophonquartett 1988 15m
134 Schloßstücke - für präpariertes Klavier (und Diaprojektion) 1988 15m
135 Zustände - Performance 1988 ~ 1h
136 Flugfluchten - Ein Tanz-, Sprach- und Musikstück 1987 ~ 1h
137 Cis-Zis - für Violine, Posaune, Cello, Kontrabass, Synthesizer, Frauen- und Männerstimmen 1987 ~ 8m
138 Whisky - für Stimme, Baßklarinette, Tenorsaxophon, Cello, Kontrabass, Schlagzeug 1987 8m
139 Flugfluchten 1987
140 Dis-moll - Ein Tanz- und Musikstück 1986 ~ 1h
141 Vier Sätze für vier Streichquartette in einem Raum verteilt 1986 ~ 25m

General Information

Year of Birth:  1963
Date of Birth:  1. December 1963
Place of Birth:  Graz
Region of Birth: 
Country of Birth: 
Nationality: 

 

"Composer-performer" in the field of notated and improvised, instrumental and electronic music.
Instrumental and electronic compositions, emphasis on spatial conceptions, crossover projects in music, text, video, performance. Numerous multi-channel compositions in combination with instrument(s) and/or vocals, particular interest lays on the piano and its extended playing techniques, sound installations, solo-performances, founder and member of numerous ensembles for improvised and collectively composed music.

 

Education

PeriodEducationInstrumentTeacherEducation OrganisationLocation
1984 - 1986

private studies in dance improvisation (Monika Steffen)

1986 - 1990

studies

1987 - 1989

training for foundation research in harmonics

1989 - 1991

guest student: sculpture (Franz Xaver Ölzant)

1989 - 1993

private studies sculpture (Karl Sukopp)

1990

diploma

1990 - 1992

studies

1990 - 1993

training in electro- acoustics and experimental music

1993 - 1998

composition

1995

guest course "music technology"

training in electro-acoustics and experimental music

training in electro-acoustics and experimental music

Activities

PeriodActivityOrganisationLocation
1986 - 1988

interrelated projects with music, dance and performance

1989

album production "dot" together with Elisabeth Schimana

1989 - 1993

intensive work with sculpture and space

1990 - 2005

piano teacher in several music schools in Lower Austria

1993

theoretical work about "space and music"

1995

involvement with the Music Department

1995 - 2001

cooperation in the school-project

2006

since then teacher of the class "computer music and electronic media" (electro acoustic, composition, improvisation)

2010 - 2014

co-worker at the project "Knowledge through Art"

2012 - 2014

co-worker at the project "Patterns of Institution"

freelance composer and pianist

several CD-recordings with her own label

ensemble member of monocle (with Reni Weichselbaum, Josef Novotny, Manon Liu Winter), USE (with Hannes Schweiger, Hermann Stangassinger), soundog (with Elisabeth Harnik, Uli Winter, Fredi Pröll, Josef Novotny), subshrubs (with Angélica Castelló, Maja Osojnik, Billy Roisz), los autodisparadores (with Angélica Castelló, Thomas Grill) and deepseafish-K (with JUUN, Manon Liu Winter)

Performances (Selection)

PeriodPerformanceCompositionOrganisationLocation
1986
1987
1988

Festival Akustika

1992

Festival Internacional de Musica Contemporanea

1992

Festival Musica Nova

1992

Jesuitenkirche

1993
1995
1996

Festival Absolute Musik

1996
1996

Festival on-off/St. Johann in Tirol

1996
1997
1998
1998
1999
1999
1999

Festival Alternativa

2000
2001
2001
2002

"6 Kompositionen für Lautsprecher"

2003
2004
2006
2007

Hanisch Maschinenhalle Linz

2008

Konzert mit A. Castelló, M. Osojnik, B. Roisz

2009

Linz09

2010

music for a scenic reading

2011
2012

Zacherlfabrik Wien: “einen Moment bitte”

2014

Awards

PeriodAwardCompositionAwarding Organisation
1994

Max-Brand-Award

1995

scholarship for studies abroad

1996

work scholarship

1998

scholarship

2001

Publicity Award

2002

state scholarship

2002

promotional award

2004

electronica prize

2004

composer in residence

2006

honorary mention at the Prix

2011

sponsorship for the project "Knowledge through Art"

2011

Druskininkaj, Lithuania: "composer in residence"

2011

state scholarship

2013

austrian state prize of arts

2014

grant for a 3-month stay from Styria/Austria to Belgrade, Serbia

2014

composer in residence in Ohain, Belgium

Description of Style

Elisabeth Vera Rathenböck: How do you define music for your work?

Katharina Klement: Everything that sounds. The definition is short.

E. V. R.: In 'Miniaturen' you take for example some themes and compress them into smaller structures. One can see this compression as a kind of reduction. As of a certain speed, a wheel is no longer recognizable as such. It looks like a disk and appears not to be moving. If one could condense sounds in their entirety, would one achieve silence?

K. K.: yes, exactly. That is a good borderline. I seek precisely this, to compress or allow for transformations, musically speaking. One of my ideas was to transform a complex sound ever higher in the frequency spectrum, until it surpasses the human auditory threshold (over 20 kHz). I have calculated these transformations on the computer and the system naturally has impurities, especially the analogue transformation in sound. I ended up with "noise". This is a basic element of music, especially electro-acoustics. The "white noise", which is covered by the entire human range of hearing, could be understood as the unformed raw material for music. Just like shapeless clay is the raw material for sculpture. On the other hand, silence provides the space for the noise and therefore for the music. Or it creates a space within this.

 

(Katharina Klement in a conversation with Elisabeth Vera Rathenböck, 1996)

Teacher of (Person)

Contact Person of (Organisation)

Band/Ensemble Member of

Band/Ensemble Member of: