© K. Klement

Klement Katharina

Compositions

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

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)

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