© K. Klement

Klement Katharina

Compositions

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

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: