DIMPKER

Composer • Author • Lecturer

Extended Instrumental / Vocal Electroacoustic Light Video Theatre & Dance Notation

The art form I work in is notation. This means that all works are first constructed on paper and should be primarily accessed in this way. My whole œuvre is connected to the two treatises Extended notation: The depiction of the unconventional (LIT publishers, 2013) and

Kinetic notations for the visual and performing arts (due to be published in 2025 by Transcript / Columbia University Press) that develop notational methods for unconventional artistic events, including extended instrumental playing / singing techniques, electroacoustic music, light art, new media art, theatre and dance.

I have applied the developments in more than thirty scores. Since 2019, my pieces have overcome sound production, as they are fundamentally based in the visual and performing arts. All of my compositions with work numbers are connected to the two treatises.

2000-10: Works in the fields of Computer Music and Sound Art, inter alia Konstrukte. Performances and installations, inter alia at Singuhr / Hörgalerie and Tuned City Festival. First notated music without work numbers, inter alia Die Lehre des Scheins or Wiederkehr | Kyklos (earlier works lost / destroyed).

N. 1 (2010, rev. 2011-12) Tatsachen in zwei Sätzen: Für Violine solo | For violin alone [8-9’].

N. 2 (2010, rev. 2011-12) Entgleisungen: Für Flöte, Klarinette in B, Klavier, Perkussion, Violine und Violoncello | For flute, Bb clarinet, piano, percussion, violin and violoncello [10-11’].

N. 3 (2010, rev. 2011-12) Zu vier Händen – Interventionen für Konzertflügel: Für Klavier und Assistenz | For piano and assistance [10-11’].

N. 4 (2011) Ausführung über den Materialbegriff: Für Klarinette in B, Mezzosopran, Kontrabass und Elektronik | For Bb clarinet, mezzo-soprano, contrabass and electronics [~13’].

N. 5 (2011) Studien zur Notation elektroakustischer Musik | Studies on the notation of electroacoustic music: Für Festmedien | For fixed media [3’54’’].

5/1 Studie I | Study I
5/2 Studie II | Study II
5/3 Studie III | Study III
5/4 Studie IV | Study IV

N. 6 (2012) Klanggruppen: Für Violoncello und Elektronik | For violoncello and electronics [~9’].

N. 7 (2012) Filterspiel – Musik für Konferenzen | Filterspiel – Music for conferences: Für 4 Perkussionistïnnen, 4 Dolmetscherkabinen, Dirigent und Elektronik | For 4 percussionists, 4 interpreter’s booths, conductor and electronics [~12’].

7/1 Performative Version | Performative version
7/2 Videoversion | Video version

N. 8 (2012) Drei Lieder | Three songs: Für zwei Gitarristïnnen und Elektronik | For two guitarists and electronics [~15’].

8/1 Ohne Worte
8/2 Windgesang
8/3 Metamelodien

N. 9 (2013) Struktur / Hinter den Kulissen: Für Ensemble | For ensemble [13-14’].

N. 10 (2013) Sýnthesis: Für ring- und amplitudenmodulierte Oszillatoren | For ring and amplitude modulated oscillators [~16’].

N. 11 (2013) Streichquartett I | String quartet I [~15’].

11/1 Instrumentale Version | Instrumental version
11/2 Elektronische Version | Electronic version

N. 12 (2014) Kinderstück [Meta-Physik] | Children’s piece [Meta-Physics]: Für Klavier | For piano [4’33’’].

N. 13 a) (2014) Tractatus I: Für 48-stimmigen Chor SATB und Elektronik | For SATB chorus of 48 voices and electronics [~11’].

N. 13 b) (2017) Tractatus II: Für Sprecher und Orchester | For speaker and orchestra [20/25’].

N. 14 (2014, rev. 2018) Utopia (omaggio a Luciano Berio): Für Flöte und Elektronik | For flute and electronics [~15’].

N. 15 (2015) Ossia (A → ¬B & B → ¬A): Für Klarinette in B oder Violine, Violoncello und Klavier | For Bb clarinet or violin, violoncello and piano [~10’].

15/1 Version mit Klarinette in B | Version with Bb Clarinet
15/2 Version mit Violine | Version with Violin

N. 16 (2015) Drei Miniaturen nach Nietzsche: Für Sopran, Klavier und Elektronik | For soprano, piano and electronics [5’].

16/1 Ecce Homo
16/2 Dem unbekannten Gott
16/3 Über meiner Haustür

N. 17 (2016) Zum Anbeginn neuer Zeiten (Klavierstücke I-IV): Für Klavier und FM-Instrumente | For piano and FM instruments [~15’].

17/1 Klavierstück I
17/2 Klavierstück II
17/3 Klavierstück III
17/4 Klavierstück IV
17/5 Klavierstück I – elektronische Version | electronic version
17/6 Klavierstück II – elektronische Version | electronic version
17/7 Klavierstück III – elektronische Version | electronic version
17/8 Klavierstück IV – elektronische Version | electronic version

N. 18 (2016) Utopia II: Für Harfe und Elektronik | For harp and electronics [≥10’].

N. 19 (2016) Utopia III: Für Frauenstimme | For female voice [5-8’].

N. 20 (2016) Streichquartett II „MikrosKopie“ | String quartet II “MicrosCopy”[≤10’].

N. 21 (2017) Warenwirtschaft: Für 2-3 Spielerïnnen, Informations- und Kommunikationstechnologie, Unterhaltungselektronik, Haushaltsgeräte, Haushaltsgegenstände, Mikrofone, Lautsprecher, Mundharmonikas und Tamtams | For 2-3 players, information and commu-nication technology, consumer electronics, home appliances, household items, microphones, loudspeakers, harmonicas and tam-tams [22’ + ∞].

21/1 Version für 2 Spielerïnnen | Version for 2 players
21/2 Version für 3 Spielerïnnen | Version for 3 players

N. 22 (2017) 4 × 2 × 8 – Sakrale Interaktionen: Für Flöte, Oboe, Klarinette in B, Fagott, 4 sakrale Räume, 2 Mikrofone, 8 Lautsprecher und Elektronik | For flute, Bb clarinet, oboe, bassoon, 4 sacred rooms, 2 microphones, 8 loudspeakers and electronics [16’].

N. 23 (2018) Utopia IV: Für 1-3 Trompeten und 0-3 Sprecherïnnen | For 1-3 trumpets and 0-3 speakers [~9’].

23/1 Version für 1 Trompete und 0-1 Sprecherïnnen | Version for 1 trumpet and 0-1 speakers
23/2 Version für 2 Trompeten und 0-2 Sprecherïnnen | Version for 2 trumpets and 0-2 speakers
23/3 Version für 3 Trompeten und 0-3 Sprecherïnnen | Version for 3 trumpets and 0-3 speakers

N. 24 (2018) La naissance de la lumière à partir de l’esprit du feu: Für Perkussion, Aerophone und Elektronik auf Festmedien | For percussion, aerophones and electronics on fixed media [27’24”].

N. 25 (2018) Utopia V | Klavierstück V: Für präpariertes Klavier, Kontaktmikrofone, Lautsprecher und/oder (präpariertes) Klavier und Elektronik | For prepared piano, contact microphones, loudspeakers and/or (prepared) piano and electronics [6/12/18’].

25/1 Utopia V
25/2 Klavierstück V
25/3 Utopia V | Klavierstück V

N. 26 (2019) Sphären » Schweben: Für Streichorchester, Spiegel, Transducer, Scheinwerfer, Becken, Chladni Metallplatten, Industrie-Violine/-Viola, Werkzeug, Mikrofone und Elektronik | For string orchestra, mirrors, transducers, spotlights, cymbals, Chladni metal plates, industrial violin/viola, tools, microphones and electronics [~16’ + ∞].

26/1 Aufführung | Performance
26/2 Installation | Installation

N. 27 (2019) Aus den Werkstätten des Lichts: Holografisches Lichtwerk für drei Spielerïnnen und Elektronik | Holographic light work for three players and electronics [10’ + ∞].

27/1 Performative Version | Performative version
27/2 Installative Version | Installative version

N. 28 (2019) Lichtquartett | Light quartet “Die Zusammensetzung der Welt”: Mikroskopisches Lichtwerk für vier Spielerïnnen und Elektronik | Microscopic light work for four players and electronics [≤11’ + ∞].

28/1 Performative Version | Performative version
28/2 Installative Version | Installative version
28/3 Digitale Version | Digital version

N. 29 (2020) Feux avant, la chorégraphie: Theatrales Lichtballett für Scheinwerfer, LED-Punktmatrix, Lichtvorhang, Laser und Nebelmaschinen | Theatrical light ballet for spotlights, LED dot matrix, light curtain, lasers and fog machines [28’00”].

29/1 Performative Version | Performative version
29/2 Installative Version | Installative version

N. 30 (2021/22) Videoquartett | Video quartet “Manifestation des Abseitigen”: Medien- und Klanginstallation für Videokameras, Fluoreszenzmikroskop, Projektor, Bildschirme, Nebelmaschine, Ventilatoren, Mikrofone, Lautsprecher, Transducer, Synthesizer und Elektronik | Media and sound installation for video cameras, fluorescence microscope, projector, screens, fog machine, fans, microphones, loudspeakers, transducers, synthesizer and electronics [9’ + ∞].

N. 31 (2022) F.a.u.s.t. oder Märchengeschichten der Metaphysik | F.a.u.s.t. or fairy tales of metaphysics: Dreifacher Höllenzwang für drei Schauspielerïnnen, eine Dirigentïn, Kameras, Bildschirme, Mikrofone, Animationssoftware und Industriewaren | Triple hell compulsion for three actresses, one conductor, cameras, screens, microphones, animation software and industrial goods [~16’].

N. 32 (2022/23) En l’absence de choses: Choreographie für 8 Ballett-Tänzerïnnen | Choreography for 8 ballet dancers [~21 / 28’00’’] (Partitur zeitweise offline | score temporarily offline).

N. 33 (2024) Holistic notation study I {Granular visions}: Stereophone Videoarbeit für Fernglas, Mikrobildschirm und Kopfhörer | Stereophonic video work for binoculars, microscreen and headphones [~9’36’’ + ∞].

N. 34 (2024) Holistic notation study II {Mechanical movements}: Für robotische Tänzerïn, Kameras, analoge Kamera / Filmprojektor, Green-Screen, Leinwand, Haushaltsgegenstände, Mikrofone und Lautsprecher (laufende Arbeit) | For robotic dancer, cameras, analogue camera / film projector, greenscreen, screen, household objects, microphones and loudspeakers (work in progress).

34/1 Videoarbeit | Video work
34/2 Bühnenstück | Stage piece

Biography

Christian Dimpker is a composer and art theorist with academic studies in Philosophy, History and Sound Studies as well as a doctoral dissertation in Musicology / Composition. Dimpker’s compositions explore unconventional fields of notation. This is enabled by an extensive notation system for extended playing techniques and electroacoustic music. This treatise with the title Extended notation: The depiction of the unconventional has been released by the LIT Verlag publishers. Currently, Dimpker further extends this research to the fields of visual arts, theatre and dance. The monograph Kinetic notations for the visual and performing arts forms the basis of this work. It will be released in 2025 by Transcript Publishing / Columbia University Press. Scores are published by Universal Edition Vienna. Residencies inter alia at Cité des Arts Paris, EMS Stockholm, Asia Culture Center, Tokyo Arts and Space, Kuenstlerdorf Schoeppingen. Grants by the Berlin senate, German government, E.ON foundation, Lotto foundation, German Artist Fund, Musikfonds, GEMA. Performances in Germany, Japan, France, South Korea, Portugal, Australia, Serbia, the USA, England, Sweden and Romania (International Contemporary Ensemble / Contemporary Insights / Elision Ensemble / Ensemble 2e2m / Ensemble Resonanz). Scores are distributed by the Universal Edition. Engraving works include Helmut Lachenmann’s Schreiben for Breitkopf & Härtel.

years of practice

complex scores

treatises on notation

DIMPKER

Extended Instrumental / Vocal Electroacoustic Light Video Theatre & Dance Notation

Biography

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