Try to grasp the ephemeral
Katharina Klement presents a precise arranged album where instrumental approaches (piano on Side A and Zither on Side B) are almost invisibly connected to electronic manipulations.
»If Pierre Schaeffer and Pierre Henry could invent a symphony pour un homme seul in 1950, I feel compelled to launch a suite pour une femme seule 70 years later.«
Link: Ventil Records V_014 2020
"I transfer chemical processes and transformations to composition technique. I had the opportunity to visit the cement factory in Mannersdorf/Lower Austria where I made numerous audio recordings. A few of them are the starting point for my work Schütten –
3 x 3 solo pieces for violin, cello piano.“
(Katharina Klement) in collaboration with Oskar Aichinger, Séverine Ballon, Tiziana Bertoncini, Audrey Chen, Annelie Gahl, Georg Graewe, Thomas Lehn, Barbara Lüneburg, Michael Moser
Link: paladino media AG 0018 2019
Three compositions from 2014/15 are unified on this CD:
„Wie Tag und Nacht“ for 3 zithers and electronics
„In dem HIMMEL benannten Darüber“ for two ensembles (subshrubs and PHACE)
„Drift“ for organ and electronics
„The colour of the pieces is as dark as the time in which they were created: an era of human isolation due to our dependency on electronic devices, an era shifting into the digital sphere . Katharina Klement composed this socially relevant relationship between analogue and digital worlds, albeit – and this at the artist`s discretion – with a positive, poetic outcome, an uncynical work.“ Philipp Schmickl
Link: chmafu nocords cn 63 2018
compilation of 30 Austrian composers on 4 CDs
This CD-anthology was conceived as n expedition into the multifarious world of electroacoustic music forms and sound art of Austrian composers and is addressed to both connoisseurs and scientifically interested audience.
Katharina Klement is represented with „einen Moment bitte – Part II“ (excerpt). A composition for eight instruments was recorded, the resultimg 8 tracks were then the soundmaterial for an 8-channel soundinstallation. An extract in stereo-format was chosen for this CD.
Link: GEM 1702 2017
Kaja Farszky: marimba, percussion; Annette Giesriegl: vocals, electronics; Katharina Klement: piano
The musicians, who come from the fields of jazz, new music and improvisation, act as if in a chemical laboratory, in which musical „redox recations“ occur again and again, in which sound electrons are taken over or given off, and thus new sound material constantly develops. In physics, an orbital describes the wave function of an electron. It stands as an correspondence for the musical activity of the trio, for the sensing of the intangible sonic moment.
Link: Creative sources cs 459 2017
In 2014, I spent nine weeks in Belgrade, focusing on the questions, “What does this city sound like? Is it possible to portray it using sounds?”
In numerous excursions to different areas of the city, I collected sounds and noises. In addition, I conducted several interviews about the soundscape of Belgrade with people of different ages and backgrounds. The resulting comprehensive acoustic archive, or memory, became the basis of my compositional approach.
gruenrekorder Gruen173 2017
Katharina Klement: piano, electronics
Martin Siewert: electric baritone & steel guitars, electronics
Austrian Katharina Klement and Martin Siewert are magicians. Both are more than resourceful improvisers on their so-called traditional instruments - Klement on the piano and Siewert on the electric guitar, but both opt to use these instruments as sound generators, then play with the sounds with electronic treatments and their highly personal extended techniques. The Free Jazz Collective
Link: chmafu nocords cn 61 2016
juun / Katharina Klement / Manon Liu Winter, horizontal string instruments
The letter 'K' in DeapseafishK stands for keys and it refers to the fact that all three players use instruments with keys; we have juun (pianoguts, hammered dulcimer, toy piano), Katharina Klement (piano, clavichord, zither, synthersizer, electronics) and Manon Liu Winter (piano, clavichord).
Link: chmafu nocords 2015
a film by Ursula Mihelič, music by Katharina Klement
german with english subtitles 63 min. 2014
The work of director Ursula Mihelič and composer Katharina Klement addresses the question of the musical and cinematic portrait and tests the cooperation of these two forms.
Links: Trailer / video sample part 1 / videosample part 2
Katharina Klement, solos & small ensemble pieces
„Transformation“ is the main motif of Katharina Klement´s compositions collected on jalousie, created in the period between 2008-2012. A selection of solos and small ensembles, always in the tradeoff between instrumental and electronic approach, as well as composition and improvisation.
Link: chmafu nocords nc46 2012
Lynn Book, voice & electronics
Katharina Klement, piano & electronics
The prehistory of this CD began in 2007 in the US with the interdisciplinary project „Regarding:Next“, based on Thomas More´s seminal text „Utopia“. The first performance venues were Winston Salem in North Carolina, NYC and Pittsburgh. The concert in the Amann Studio in Vienna, documented here, is considered a continuation in which what has gone before still resonates.
KalK nr. 10 2011
velak_rec concert series 2010, compilation of four quartets
amongst others one set with Katharina Klement, Wolfgang Fuchs, Rossi, dieb 13
'zero and one' is a binary, mathematically defined composition for x musicians (in this case for four musicians). it iterates through all possible duo-parts and solos, starting and ending with everyone playing.
Link: chmafu nocords cn 38 2011
works by Angélica Castelló, Cordula Boesze, Manon Liu Winter, Katharina Klement, Petra Stump,
Elisabeth Flunger, Maria Frodl, Carla Kihlstedt, Susanna Gartmayer, Judith Unterpertinger, Ilse Riedler
Damned ties! The patriarchy, even in its cultural expressions, is dominated by male societies. The freiStil sampler #1 features eleven female artists, whose musical qualities were and are in inverse proportion to the media’s indifference to them with one track each.
Link: chmafu nocords 2008
Katharina Klement, conception & piano
Thomas Grill, live electronics
Wolfgang Reisinger, drums & percussion
Alfred Reiter, sound control, recording „ audiomastering
Billy Roisz, video
The composition was comissioned on the occasion of the Poetry Days Linz in 2007 on the theme „Surface and Depth of Field“ and premiered in the Hanisch Machine Hall where machines are produced for the processing of building rubble. According to the working process of these machines to crush construction or road debris into different sand-grain sizes, the composition follows the idea of granulating. The video by Billy Roisz was made afterwards for the DVD production.
KalK nr.09 2009
Link: videosample granular
works by Gerald Resch, Daniel de la Cuesta, Katharina Klement, Christoph Herndler, Jorge Sanchez-Chiong
For this production, which shows teh bassoon naked – stripped of ist usual contexts – there were five occasions: the individual musical worlds of just as many composers whose music inspires me and whom I could make interested in my instrument. (Robert Buschek)
Link: einklangrecords ekr 032 2008
solo- and ensemble-works by Katharina Klement from 2004 – 2007
Nothing is more unusual about Katharina Klement than the self-evident. Trailing the sounds, her music approaches an unnameable place of joy:“ Come into the open, my friend!“
Link: Edition Zeitton ORF CD 3027 2008
These concerts were played diviede into two trios, placed in different rooms. The audience as well as the musicians heard special mixes that, together with the live sound, presented the full ensemble in each room.
Cordula Boesze, fl
Günther Albrecht, synth-sax
Paul Skrepek, dr
Seppo Gründler, guitar & electronics
Uli Fussenegger, G3 computer
Katharina Klement, piano extended
Link: Grazer Etikett 666 LC 6185 2003
Angélica Castelló, recorders
Thomas Grill, electronics
Katharina Klement, extended piano & clavichord
Free and structured improvisations, recorded at Schlachthof Wels and Amannstudio Vienna 2005/06. A soft immersion, leaving the surface behind, knowing that on the inside, wide horizons are waiting.
Link: einklangrecords ekr 029 2007
self printed limited edition 2006
Katharina Klement, conception, piano, electronics
Dieter Kovacic, programing, video, electronics
A selected location was observed over 34 days and nights with two cameras and four microphones. The data material obtained in this way was converted into a three-part composition, performed in the same location (court of delivery art collection Essl, Klosterneuburg Austria).
Link: video sample
edited by IGNM/ISCM International Society of Contemporary Music
Electronic music from Vienna. The variety of forms that make up the practice of electronic music in Vienna today is the intention of this CD. Works by dieb13/Billy Roisz, Wolfgang Mitterer, Elisabeth Schimana/Seppo Gründler, Dieter Kaufmann, Das Erste Wiener Gemüseorchester, Ming Wang, Low Frequency Orchestra, Katharina Klement
Link: ORF CD 440, LC 11428 2006
The analogue instrument piano and its eighty-eight keys or pitches form the framework of the joint programme. The instrument is measured, recorded and deconstructed acoustically and optically.
Katharina Klement, conception & piano & electronics
Nikolaus Gansterer, video & live drawing
Josef Novotny, piano & electronics
Extraplatte, LC 8202 2005
Link: video sample
edition Frauentöne vol. 5 re nova classics
Sigrid Trummer, piano solo, compositions from several Austrian female composers living around the Fin de Siècle in Vienna plus a comissioned work by Katharina Klement; works by Maria Bach, Grete von Zieritz, Johanna Müller-Hermann, Sophie Eckhardt-Gramatté, Katharina Klement, Stephanie Wurmbrandt-Stuppach, Agnes Tyrell, Maria Hofer
4/4 Verlag LC 10849 2005
Annelie Gahl, violin solo.
The „Passacaglia (Sonata of the Guardian Angel)“ for solo violin by baroque composer Heinrich Ignaz Franz Biber is the pivot for four new comissioned pieces by Austrian composers Fritz Keil, Katharina Klement, Klaus Lang, Christian Muthspiel.
„innaron“ the root of German word „Erinnerung“, or memory, not only implies retrospection, but rather also „making someone aware of something“.
Link: Extraplatte, LC 8202 2004
free improvised music by
Katharina Klement, monochord, clavichord, melodica
Josef Novotny, clavichord, electronics
Reni Weichselbaum, tenor and bass recorder
Manon Liu Winter, clavichord
Link: Extraplatte , LC 8202 2003
compositions by Katharina Klement for solo-instruments and ensembles with use of electronics between 1997 and 2002, interpreters: ensemble "die reihe", also Cordula Boesze/fl, Maria Frodl/vc, Margarete Jungen/voc, Katharina Klement/p, Burkhard Stangl/guit, Manon Liu Winter/clavichord
Link: KalK 07 2003
soundinstallation for the monastery "Stift Lilienfeld" in Austria. In 2002 Stift Lilienfeld, a Cistercian monastery inLower Austria celebrated ist 800 years of existence There were four listening stations distributed in the area of the monastery.
Link: KalK 06 2002
edition Offenes Kulturhaus Linz
stereo-version of a sound-installation 10-channel, situated in Offenes Kulturhaus Linz in June/July 2001; Sound transformation – especially sound transfromation with electronic means – is work with a multi-dimensional phenomenon and comparable to plastic work.
Link: Austria CD 38530703 2001
The levels text/image/spoken word/tape-music/live-music form a network of additive, parallel and contrapuntal relationships.
Katharina Klement: composition, piano
Brigitta Falkner: text Filmscript
Karin Spielhofer: text fahrspuren
Gabriela Hütter & Rudi Widerhofer: voice
Lorenz Raab: trpt
Ali Angerer: tuba
Florian Prix & David Petermann: recording, mixdown
Link: KalK 05 2001
„concért trouvé“ was created as a commissioned work in the "Musik und Medien series, echoraum Vienna. The loose framework of „trouvé“ / the „found object“ comprises found objects that make sounds, acoustic material captured on recording media, an old grand piano left in ist „out-of-tune“- condition and subsequently prepared and converted, and an electric guitar.
Katharina Klement: piano, composition
Armin Pokorn: e-guitar, electronics
Flo Prix: sound engineering, recording
Geari Schreilechner: engineering, sound engineering
Link: KalK 04 2000
Josef Novotny (piano, clavichord, zither, electronics) in duos with different partners. Several duos by Klement/Novotny run through the edition like a red thread.
Josf Novotny: piano, clavichord, zither, electronics
Katharina Klement: piano, clavichord
Joanna Lewis: violin
Max Nagl: saxophon, clarinet
Burkhard Stangl: guitar, voice, piano
Corie Townsend/Lydia Vierlinger/ Thomas Klinger: speech
Gerlinde Illich/Margarete Jungen/Thomas Künne/Walter Wegscheider: singing
Rick Stengards: conductor
Link: rude noises 005 1998
texture: composed of several coarse- or fine-grained structures, in the spatial arrangement of six loudspeakers and piano.
Katharina Klement: piano, composition
Flo Prix: sound engineering, recording’
Link: KalK 03 1998
Electroacoustic music from Austria with ten compositions which were premiered in the series „Elektronischer Frühling“ / „electronic springtime“ between 1992-96 in the venue Alte Schmiede, Vienna.
compositions by Christian Teuscher / Katharina Klement / Günther Zechberger / Bernd Hannes Sollfellner / Germán Toro / Andreas Weixler / Markus Bless / Peter Ablinger / Winfried Ritsch / Nikolaus Schapfl
production: Igor Lintz-Maues, Gerald Trimmel
Links: www.cdandlp.com / www.discogs.com
edition in occasion of Guest Artist Program 1996/97 of WERKSTADT GRAZ in collaboration with Institute of Electronic Music Graz, Austria
It includes an interview conducted by Elisabeth Vera Rathenböck „Silence.Work.Music.“, a CD with two electroacoustic compositions Brandung I/II and a score.
KalK 02 1996
13 miniatures for 8-channel tape and piano, the composition consists of 13 acoustic chapters in which each block is set up piece by piece, some loosely tied together, and some narrate a continuing story.
Katharina Klement: piano, composition
Edwin Pfanzagl, recording & mastering
Link: KalK 01 1996
Side A: A-LE-LU-JA, composition by Elisabeth Schimana
Side B: BACH, composition by Schimana & Klement
We chose fragments out of the first and second album of „Well Tempered Clavier“ and played them over the singers headphones. The recorded voice and piano material forms the basis of the composition.
Elisabeth Schimana: composition, voice, mastering
Katharina Klement: composition, piano
Wolfgang Musil: recording & mastering
Link: Extraplatte LC 8202 1989