"Austrian trumpeter Franz Koglmann (1947) debuted in the 1970s. Bill Dixon's Opium contained the 17-minute For Franz (august 1976) performed by a quintet with two trumpets (Dixon and Koglmann), tenor saxophone, bass (Alan Silva) and percussion. The rest of the album (recorded between december 1975 and november 1976), contains compositions by Koglmann and features Franz Koglmann on flugelhorn and Steve Lacy on soprano sax except one piece that is an early electronic experiment with Gerd Geier on computer and Toni Michlmayr on bass.

Koglmann founded the Chamber Jazz Emsembles Pipetet that debuted with Schlaf Schlemmer Schlaf Magritte (december 1984), a vehicle for his brainy scores that embedded everything from Arnold Schoenberg's dodecaphony to swing to free jazz, all done with a Dadaist attitude worthy of Pere Ubu (notably in the four-movement Tanzmusick Fuer Paszstueckem). Evolving through fragmented albums such as Ich (october 1986), his manyfold art of composition and deconstruction bloomed on the nine-movement suite The Use of Memory (october 1990), almost a colossal compendium of 20th century music.

Orte Der Geometrie (november 1988) featured alto saxophonist Guillermo Gregorio, soprano saxophonist Roberto Ottaviano, Jean-Christophe Mastnak on French horn, bassist Klaus Koch, trombonist Rudolf Ruschel, tuba player Raoul Herget, clarinetist Martin Schelling, pianists Ran Blake and Robert Michael Weiss, oboe player Mario Arcari, guitarist Burkhard Stangl, drummer Fritz Hauser, and "conductor" Gustav Bauer.

A White Line (november 1989) was a collaboration with an ensemble conducted by Gustav Bauwer: Jean-Christoph Mastnak (flugelhorn), Raoul Herget (tuba), Mario Arcari (oboe), Tony Coe (clarinet and tenor sax), Helmut Federle (accordion), Paul Bley (piano), Burkhard Stangl (guitar), Klaus Koch (bass), and Gerry Hemingway (drums).

A theorist not so much of post-modern but of post-classical music, Koglmann continued to rehearse a cryptic vision of music on albums such as L'Heure Bleue (april 1991) only to unleash another massive, powerful reconceptualization of the century's music with Cantos I-IV (october 1992) for orchestrated improvisers. Koglmann had coined a moving music of contradictions, misunderstandings and, ultimately, of mistakes. His monumental and demented synthesis of improvised and composed music continued on O Moon My Pin Up (march 1997), explicitly dedicated to poet Ezra Pound. After Make Believe (november 1998) for a quintet, he also ventured outside chamber music with the electroacoustic opera Fear Death By Water (march 2003) and the "imaginary play" Let's Make Love (september 2004). One of the greatest composers of his generation, Koglmann metabolized the past in order to create the future.

Lo-lee-ta (2009) was inspired by Vladimir Nabokov's texts and performed by the Monoblue Quartet (Tony Coe on clarinet/alto saxophone, Ed Renshaw on guitar, Peter Herbert on bass).

Join! (Orf, 2014), the first album in five years, is a sci-fi opera, premiered in may 2013, for seven opera singers and a chamber ensemble.

G(ood)luck (april 2015) documents a trio with Mario Arcari on English horn and oboe, and Attila Pasztor on cello."

Lukas Schiske is an Austrian percussionist born in Vienna in 1962, who studied classical and jazz percussion at the University of Music and Performing Arts Vienna. A longtime member of Klangforum Wien, he is active in contemporary composition, ensemble music, and improvisation, bringing a precise, highly developed percussion language to Vienna FLAMMeS.

Andreas Donhauser is an Austrian multidisciplinary artist, scenographer, designer, and performer whose work spans theater, opera, film, video, exhibitions, and visual art. Working internationally, he brings a strongly theatrical and performative sensibility to Vienna FLAMMeS, contributing guitar, trumpet, synthesizer, vocals, and abrasive sonic interventions.

Silvia Deixler is a Vienna-based guitarist and musician whose work moves through rock, experimental music, and improvisation. Also active with projects including Toxic Violin and Major Shrimp, she brings a blues-inflected, heavy, and exploratory guitar approach to Vienna FLAMMeS, adding sharp-edged attacks, texture, and electric force to the ensemble's sound.

Max Buhlmann is a Vienna-based artist, performer, clarinetist, and saxophonist whose practice connects visual art, performance, sculpture, and improvised music. A co-founder of Deklat Omat ja's, he contributes saxophone, clarinet, and bass clarinet to Vienna FLAMMeS, adding sonorous reed textures and lyrical counterweight to the group's dense collective sound.

Michael Mautner is an Austrian composer, conductor, author, and keyboardist born in Salzburg in 1959, whose work includes concert music, music theater, interdisciplinary stage projects, and explorations of the relationship between visual art and sound. In Vienna FLAMMeS, he acts as a guiding musical presence, contributing motifs, keyboards, and synthesizer to the ensemble's post-jazz sound world.

Josef Ka is a performance, visual, and sound artist whose site-specific work draws on Butoh, movement, ritual, visual action, cinematic ideas, and spoken or embodied expression. Based between Finland and an international performance-art context, Josef Ka contributes performance and spoken elements to Vienna FLAMMeS, extending the ensemble's music into gesture, theater, and physical presence.