Katharina Klement

Composer, Performer

(с) Caroline Profanter

Katharina Klement, Born in Graz/Austria, is active as a composer-performer in the field of composed and improvised, electronic and instrumental music. In her work there are numerous cross-connecting projects within the fields of music-text-video. She is particularly interested in the piano as an instrument and in extended playing techniques for it. She is founder and member of several ensembles for improvised music.

International concerts and performances, among others in St. Petersburg /Festival Acousmonium, Triest/ Festival chaos-teatri del suono, Stockholm/Fylkingen, Basel/Gare du Nord, Tamil Nadu/South India, Sao Paolo/BIMESP, Florida / contemporary music
festival, Wien Modern, Elevate Graz, Klangspuren Schwaz.

Her works have appeared on numerous recordings, including gruenrekorder, Ventil records, chmafu nocords, Austrian grammophone.

Numerous prizes and awards, among others "honorary mention" 2006 ars electronica Linz, Kunstpreis Österreich Sparte Musik 2013, Musikpreis der Stadt Wien 2021 since 2006 she teaches at the course for electroacoustic and experimental music at the
university of music and performing music vienna.


Wasserlauf, part 5, 6, 7 (stereo-version, 14 min, 2021)

Presented within Acousmonium 2023

A composition in seven parts originally designed for eight soundbodies (two loudspeakers, two transducers hanging on metal sheets, one transducer on a snare drum, two bass shakers mounted under a metal pan filled with water, one bass speaker).
In this acousmatic version these eight sound bodies are mixed into stereo. Source material are recordings of water from Malta valley made in 2021 in Carinthia/Austria. It was transformed in several ways like filtering, compression or spectral reflections.
Splashing, whispering, talking to violently rushing the water takes its course. The work is connected to the project MONOLITH with the artists Georg Planer, Peter Paszkiewicz and Josef Baier who did stone sculptures in a quarry in the same region and also geologist Urs Kloetzli who researched the nature of the stone and the landscape.

Video about the whole project by Andreas Gasser: https://vimeo.com/687849366

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.