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The  KlangArt Festival was an international music festival in Osnabrück (Lower Saxony). It took place as a Biennale from 1991 to 2001 on several days each May or June and was organized by the city of Osnabrück in contractual cooperation with the University of Osnabrück. The overall event consisted of the actual festival with concert events, the scientific congress New Music Technology at the university and the trade exhibition MusiTec.

Since the first event in 1991, KlangArt has been concerned with the thematic processing of the artistic interaction between music and technology. Their momentum - not least due to the rapid development of the digitalization of communication, media and instrument technologies - was examined with its cultural consequences in scientific, artistic and pedagogical terms. The concept of the event explicitly emphasized innovative and experimental developments, without giving preference to certain musical styles or restricting aesthetic values as a basis for the selection of artists or scientific presentations.

Taken together, the three KlangArt pillars - the festival, the congress and MusiTec - formed a forward-looking overall multimedia concept that was probably unique in this combination and programmatic density.

The scientific congress New Music Technology was organized by the Research Center for Music and Media Technology (FMT) at the University of Osnabrück (director: Bernd Enders), the festival and the exhibition MusiTec were commissioned by the city of Osnabrück.

History
Within the framework of the various KlangArt events, international artists and scientists were engaged, but also young talents, e.g. with commissioned compositions, were promoted.

In 1991 began the first festival among others with Karlheinz Stockhausen, Oskar Sala, Clarence Barlow, Holger Czukay, Einstürzende Neubauten, John Cale, Klaus Doldinger.

In 1993, Peter Michael Hamel, York Höller, Johannes Fritsch, Barbara Dennerlein, Jasper van't Hof ("Pili Pili") as well as the group Kraftwerk among others.

Later festival events featured, among others: Lydia Kavina, Hans-Joachim Roedelius, the Groupe de recherches musicales (INA GRM Paris) with the Acousmonium, Fred Frith & Bob Ostertag, Tangerine Dream ("Mars Polaris"), Peter Vogel with the KlangWand, Josef Anton Riedl, Sam Auinger, Robin Minard, Ludger Brümmer, Sabine Schäfer, Bernd Kistenmacher, Tadashi Endo, Gottfried Michael Koenig, Hubert Bognermayr (Blue Chip Orchestra), Friedrich Gauwerky and many more. From the first KlangArt in 1991, a CD of important productions was released. Klaus Schulze produced the album Live @ KlangArt, parts 1 and 2 in 2001.

Some composers also gave lectures at the KlangArt congresses held in parallel, each of which featured 30-40 presenters. All congresses were financially supported by scientific funding institutions, and the lectures and panel discussions were published in six congress volumes.

In 2001, the last KlangArt was held, as the city of Osnabrück stopped financial and organizational support due to austerity measures. The label "KlangArt," created in 1990 in a joint brainstorming session of the organizing team, led in Germany to a flood of names of the same label among ensembles, music stores, festivals, educational institutions, and others after the end of the Osnabrück festival.

Commissioned compositions

 * Peter Jan Marthé: AlpenRauschSymphony, 1991, live performance Rathaus/Marktplatz Osnabrück [CD: Slow Motion Records 1992, LC 6374]
 * Luca Francesconi: Concerto for Clarinet and Electronics, with the Osnabrück Symphony Orchestra, Osnabrück Stadthalle, 1993.
 * Peter Florian (Pianist): OSmose - large-scale performance city hall/marketplace Osnabrück, 1993
 * Peter Michael Hamel: Le Tombeau de Messiaen for electric organ, Stadthalle, 1993
 * Vladimir Ivanoff: Metamorphoses for choir and electronics, Osnabrück Cathedral, 1993
 * Roland Pfrengle: Später Schall for acoustic instruments, electronic sound generators and moving objects, 1995 (planned live performance at the market in front of the Rathaus could not be realized due to weather conditions)

World premieres, first performances

 * Vox: Songs of Saint Hildegard of Bingen, Diadema, 1991
 * Mayako Kubo & tatoeba: Dance of the Twelve Kimonos, 1991.
 * Blue Chip Orchestra: KlangKathedrale, 1991
 * Steve Roach, Suso Saiz, Regina Quintero, Jorge Reyes, Elmar Schulte: Suspended Memories Forgotten Gods, 1993
 * Willem Schulz: Klangstraße (Interactive electronic space and sound installation), 1993
 * Marc Ainger: Lament (1994), German premiere, 1995
 * Granular Syntheses: Motion Control No. 5, German premiere, Dominikanerkirche Osnabrück, 1995
 * Michael Matthews (composer): Emptiness over emptiness (dance performance), Dominikanerkirche Osnabrück, German first performance, 1995
 * Willem Schulz: Cello under steam, for cello and 2 steam engines, Museum Industriekultur Osnabrück, 1997

Web links

 * website of the KlangArt congresses "New Music Technology" (mostly in german language)