P-ART WEB of ARTISTS: [Clarence BARLOW] [Carl BERGSTROEM-NIELSEN] [Alvin CURRAN] [LOGOS-DUO] [Baudouin OOSTERLYNCK] [Klaus RUNZE] [Sabine SCHAEFER] [Laurie SPIEGEL] [Margaret Leng TAN] [Dominique Vermeesch & Daniel VAN ACKER] [Michel WAISVISZ] [Ward WEIS] [Af URSIN] [Daniel VARELA] [P-ART]

These artists affiliated to P-ART are engaged in the same wide field of new music and contemporary arts. With a personal contribution to the P-ART WEB of ARTISTS, all selected artists belong to the virtual P-ART family, all together and completely free.
Full upgraded page: August 2002. Updated 2007

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"Two Hands - Twelve Notes" of Klaus RUNZE is more than a piano methode. This innovative approach respects the growing up in musicality at the piano:  I play piano with my whole body and sensitivity; I explore the piano as a playhouse; I touch the whole keyboard range with two hands and all fingers; from the first lesson I imagine the world of sound and improvise at the piano. 

Twenty years later I met Klaus RUNZE as a builder of "Imperial" sound instruments, as an Intermedia Artist and sound sculpture maker, dealing intensivity with his passion in the field of the ear, the eye and human corporality. Please visit his new existing and full illustrated homepage.



Klaus  R U N Z E



Intermedia Artist

"Nothing of the poetry of the stars remains."

In the Field of Orion (7:47)
belongs to the CD 
Look for an excerpt at the Audiovisual  TRAILER  "12 PORTRAITS" on Youtube https://youtu.be/BinrCV9w-is

Please visit my homepage: http://www.klaus-runze.com

Please don't forget to return to this page: my contribution to the P-ART Web of Artists.

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 Picture 1: Imperial

Photograph of the rehearsal of the concert "Sterne aus der Unterwelt" ("Stars in the underworld"), studies for the "Imperial" Grand Piano by Bösendorfer, with eight octaves. The gesture of music requires an increased gesture of the body in playing the keys, in order to achieve extreme soundeffects (density, tempo, dynamica). In some parts of this composition I have wrapped my hands in silk scarfs, as a result of which sensitivity and contact with this exceptional instrument is intensified.


 Picture 2 : Carillo's Dream

Photograph showing a scene of the sound performance "Carillo's dream", Munich June 1983 (in connection with "Experimentelle Musik München '83" ). On a large reel of aproximately seven meters length pictures of gestures in body language are created. Immediately after a performance with self-constructed sound- installations, I crew a sequence of paintings to this music played by a tape recorder. AToccata, that I had played on the sixteenth-tone-piano of Juan Carillo before, was included in this sound performance.


Picture 3: Tower of Memory

Space Sculpture 1997

A picture, which I had painted in tempera colours long time ago, takes on a multidimensional form: gesture of brushwork changes to the vibration of space, in which the colours sound.

For more pictures and explication, visit my homepage: http://www.klaus-runze.com



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What is more important for my artistic expression, MUSIC or PAINTING?

Statement of Klaus Runze

Well, I think there is something connecting the two, which is inherent in both. That is the gesture.
Gesture as Art is what makes the senses of the ear end the eye meet: Music as a form of expression absorbed by the ear needs the gesture which creates the sound.
Painting as a form of expression perceived by the eye makes use of the gesture which leads it to its form.
The predominance of the one over the other - the hearing over the seeing or the seeing over the hearing has led to the separation of the two: One talks either of music as art or of painting as art.
For me this separation does not exist. Shoudn't it be possible to overcome the gap in the understanding of art with the help of gesture?
The parable about the poetry of the stars may help a bit to ignore this separation. Art, which has always been a sort of language has to be brought to its right, no matter in what form it appears.


The poetry of the stars wants to be understood.  But it does not know how to do so. It tries it by assailing our ears with a big ensemble of trumpets and trombones. But as soon as the sound dies away, we are the betrayed: Nothing of the poetry of the stars remains.

It tries it by running a brush over our eyes, but this can not leave a remaining impression on us either.
Only some paint remains on our eyelashes, letting them stick together. We are equally betrayed this time, although we have felt a hint of the poetry that wants to be communicated to us.

At least it was enough to bring us one step ahead: Our ears end eyes could form an alliance. When the hearing calls, the eyelashes hurry fast. They pull their curtains over the resounding sounds of the poetry of the stare. And the ear-drum stretches over the pupil like a protecting skin, when the poetry of the stars creates its hallucinations. It can not escape now, because it is caught in a trap.

Ears end eyes have profited a lot from this mutual help. Now that they are able to convince us that neither hearing nor seeing have the right to claim exclusiveness, they don't let themselves be separated again. Finally the poetry of the stars can be communicated to us, when sounds end pictures overcome us.

Comment by Klaus RUNZE

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1994 CD + Edition of the Visual Artist Jiri Kolar, from the performance Gallery Schöppenhauer, Cologne (Trio STRUZ)

1999 Video & CD of the Inter Media Performance "SOUND FLIGHT ICARUS" at the International Sound Art Festival III (1999 July, Tacoma USA)

2001 CD "Sterne aus der Unterwelt" Zyklus für Klavierspiel . Excerpt from pianoconcert Imperial Staatliche Hochschule für Musik Köln 1996.

1971 Piano Teaching Book "Zwei Hände - Zwölf Tasten" / Germany 1971 Schott Mainz / Great Britain 1977 'Two Hands - Twelve Notes', Schott London / Japan 1986, Nihon Schott Tokyo;
1978/79 Paris, IRCAM: 'The child in the labyrinth of sound', commissioned documentation of children's creativity. Unpublished;
1983 "Geste und Sprache im Instrumentalspiel", in: Neuland, Jahrbuch 3, hg.Herbert Henck;
1985 "Klavier Klang Kommunikation. Grundsätzliches zur Live-Präparation des Klaviers, in: MusikTexte, Zeitschrift für Neue Musik, Köln (Heft 9, febr.85);
1989 "Musik heute - Enteignung des Menschen",in: "Kultur ohne Musik? Die veränderte Rolle der Musik in der visuellen Kultur", Kolloquium 7 Tagung der Hochschule fur Gestaltung, Offenbach a.M. / Deutsche UNESCO-Kommission;
1993 in: Elementare musikalische Bildung (Hrsg. Niermann), UE 1997 :
 1) Erfahrung und Verwirklichung. Die Bedeutung von Improvisation für einen komplexen Unterricht am Instrument ;
 2) Begegnung mit einem Ungeheuer. Scenische Klanggestaltung am modernen Flügel ( = Beitrage auf dem Symposion Dez.93 Wien, Hochsch.für Musik).


Calvinstr. 24

D- 10557 Berlin (Germany)

Phon.  +49 (0) 3033854000

Email: runze@klaus-runze.de


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