Circuit Fantôme
Series of Octophonic Pieces

SEASON 1,  JUL 29 – OCT 01,  2022, FRIDAY + SATURDAY

29/30 Jul      #01
 Luis NAÓN  05/06 Aug   #02
Mario MARY  12/13 Aug     #03
Philippe MION  19/20 Aug    #04
Pierre HENRY  26/27 Aug    #05
Sergey KHISMATOV 02/03 Sept  #06
Symphony of industrial Horns (reconstruction)
François BAYLE  09/10 Sept   #07
Christine GROULT, PATRICK K.-H.  16/17 Sept    #08
Beatriz FERREYRA  23/24 Sept  #09
Ksenia BAKHTINA, Vera BEZRUKOVA  30/01 Oct     #10

More about Circuit Fantôme...

supported by Stadt Wien Kultur and Institut Français


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Katharina Klement

Composer, Performer

(с) Caroline Profanter

Katharina Klement was born 1963 in Austria, active as composer-performer in the field of composed and improvised, electronic and instrumental music. Numerous cross-connecting projects within the fields of music-text-video. She is particularly interested in the piano and its extended playing techniques. Founder and member of several ensembles for improvised music.
International concerts and performances, most recently in Basel/Gare du Nord, Tamil Nadu/South India, Q02 Brussels, festivals Wien Modern, Elevate Graz, Klangspuren Schwaz, „Zwei Tage Zeit“ Zürich, BIMESP/Sao Paolo, contemporary music festival Florida.
Many recordings including labels gruenrekorder, Ventil records, chmafu nocords, Austrian grammophone.
Collaboration with various ensembles and artists, e.g. ensemble recherche, Klangforum Wien, Ensembles PHACE, Schallfeld, Studio DAN, airborne extended.
Several prizes and awards like „honorary mention“ 2006 ars electronica Linz, federal scholarship composition 2002 und 2011, art prize Austria section music 2013, Gustav Mahler award Austria 2017.
Since 2006 lecturer at the course for electroacoustic and experimental music/University of Music and Performing Arts Vienna.

5 Levels, 18’44″ / 2022

A cooperation between:
Axel Dörner: trumpet & electronics
Patrick K.-H.: video & audio electronics
Katharina Klement: zither, objects, electronics

The idea of the work arose on the one hand from the consideration of dealing with the media music and video on an equal footing, and on the other hand I wanted to work with artists I had on my wish list for a long time, but who were not easily accessible for direct collaboration due to their distant place of living. Berlin with Axel Doerner, St. Petersburg with Patrick K.-H. and Vienna with me were our geographical axes at the beginning, and from March 2022 Patrick came entirely to Vienna, where he already had a foothold anyway, due to the Ukraine war. In five successive steps, audio and video material was generated in a ping-pong process, it was reacted to, then mixed, overlaid, interpreted and transformed. In the last step, the resusts were sifted through again, reduced and put together into a whole. As chance would have it, there were also five sections on the temporal level, which can stand on their own or be read as a sequence with references to each other.
Katharina Klement, May 2022

, 6’ / 2020, stereo

The piece was created as part of the project „Resurrexit – Translocal Monuments“, initiated by „Listening City“ Austria. Based on the fact that architecture is audible, selected spaces were acoustically measured, documented by means of spatial impulse responses. The composition was first created „dry“ in the studio, then the spatial profile of the Zacherlfabrik, a former moth powder factory in Vienna was incorporated.
As if a being were to bump into its corners and walls, move away flying and tumbling, trigger some resonances and make off again – an ephemeral reminder and brief entry into an otherwise inaccessible space.

Wirbel (Vortex), 9’ / version 2021, stereo.

The piece was created in its first version in 2018 on the occasion of a concert in the baroque Kollegienkirche in Salzburg, Austria. It follows the idea of a gradually developing rotating movement, derived from a basic idea of the Baroque, which understands the inflection or fold as an „elastic fold“ that allows a straight line to become a curve with oscillating centres, which finally leads to spirals, turbulences, vortices. The current version was combined with parts from other works, which are mainly characterised by glissandi, stepless up and down movements in the pitch space. A weightless gliding is added to the rotational movements, leaving the impression of being free of gravity.