Fascinating how your composition (and playing) seem to perceive a concept of free  interconnection and autarchy. Lovely to experience.

Georges Aperghis
"Récitation n.9" (1978)
per voce sola

Giulia Zaniboni, soprano

Georges Aperghis - Récitation n.9

Performed on November 9, 2023 at Festspielhaus Hellerau

AuditivVokal Dresden
Sopran 1: Anne Stadler
Sopran 2: Katharina Salden
Alt: Stefan Kunath
Tenor: Andras Adamik
Bass: Cornelius Uhle

ContinuumXXI
Blockflöte: Moisés Maroto
Barockgeige: Adrián Pineda
Gambe: Ekaterina Gorynina
Cembalo/Arciorgano: Darío Tamayo

Künstlerische Leitung: Olaf Katzer & Alberto Arroyo
Rauminstallation: Romy Rexheuser
Projektmanagement: Nicole Meier

Photo copyright: Klaus Gigga

31 colores et 31 umbrae (2023) - for voices and ensemble

UN PULSO ESPECÍFICO - for flute and electronics (2023).

Composed by Manuel Valverde.
Performed by Sebastián Tellado

This work was commissioned by Sebastián Tellado. Premiered on October 8, 2023 in Valdivia, Chile.

Recorded at cheLA, by Ocho Ojos Producciones.
Mixing and Mastering by Manuel Valverde

Image: Primates’ Memories by Apichatpong Weerasethakul

©All rights reserved

UN PULSO ESPECÍFICO (2023)| For Flute and electronics.

Ostinato - Excerpt from 6 Dances for piano (2022)
Composed by Daniela Costa
Pianist Daniela Costa
Live Recording
© SIAE. All rights reserved to the author.

6 Dances for piano (2022) excerpt- Ostinato

for Paetzold contrabass recorder

performed by Sarah Jeffery at the Royal College of Music, March 2024

I’m very excited to have worked with Sarah Jeffery (Team Recorder) on this new piece for solo Paetzold contrabass recorder. 'Escape Velocity' is linear in form; as it progresses, Sarah accumulates new sounds, shapes and gestures. She is in possession of a multitude of these by the time the piece ends.

Escape Velocity (2024)

flute: Manuel Zurria
cello: Francesco Dillon
piano: Anna d'Errico

Im lus (2024), for trio

Broken Superficiality (2024) for Ensemble and Fixed Media

Taking influence/inspiration from the 50-year continuation and negative effects of Neo-Liberalism that was first trialled in Chile in 1973, and then widely adopted by the UK and US under Margaret Thatcher and Ronald Reagan (and the subsequent leaders), with a lot of other countries following suit. Moving increasingly towards a privatised, individualistic, and ultra-consumerist world with a lack of state-funded/public protected services/amenities, I find that gradually as a society we are losing ourselves, becoming broken and detached from community and instead are pursuing more superficial endeavours and objectives. Taking this into account, I have opted to use effects and timbres that were widely used in the 1970s and 80s as the core of the piece, pairing it with live instruments that sound ‘glitzy’ and techniques to that deviate/distort the instruments' pitch and timbre.

Performed by Ensemble Klang 
Performed at Cloud 9 in Tivoli Vredenburg, Utrecht as part of Gaudeamus Festival 2024
Recorded by Gaudeamus Festival
Mixed by Peter Bell

Image - 'Metropolis' by George Grosz (1917)


Broken Superficiality (2024)

Performed by Ariel Mo and Federico Ercoli

Double Bind for four hands, prepared piano

Dedicated to the Hamburger Kammersängerin Gabriele Rossmanith.
Commissioned for the 1st Philharmonic Chamber Concert of the 2024|25 season by the Philharmonic State Orchestra Hamburg.
Recording from the dress rehearsal on December 7, 2024, in the Elbphilharmonie, Kleiner Saal.

Gabriele Rossmanith (voice), Solveigh Rose (violin), Katharina von Held (double bass), Saida Timina (piano), and other members of the Philharmonic State Orchestra Hamburg. Yixie Shen (conductor).

——————————————————————————

Based on the poem of the same name by Ida Dehmel:

Ich sitze dunkle Frau in meinem Zimmer,
stille, große, dunkle (*) Frau.
Weiß ist das Zimmer, weit seine Wände;
weiß ist mein Kleid, mein Webstuhl weiß.
Und vor mir buntgehäuft ein Schatz Perlschnüre. 
Was will ich dunkle Frau denn weben? - Mein Leben.

Weiß, weiß und golden sind die Farben meiner Jugend,
ein morgenblauer Himmel über mir. 
Himmelschlüssel blühn auf unsern Wiesen. 
Viele kleine Blumen will ich weben, 
zart ein glückliches Lachen dazwischen, 
Alles leuchtet dem spielenden Kind.

Mutter starb. Die Farben werden blasser. 
Dunkle Trauerzweige sprießen auf,
schwanke Linien aus flimmerndem Grund, 
Thränen glitzern, Sehnsuchtsthränen.
Kind, ich große Frau möcht gern dich trösten; 
sieh, ich setz ein funkelnd Sternlein über dich.

Und nun mischen sich die bunten Perlen: 
stolz und heftig schießt ein Blutrot hoch 
durch ein trotziges Gelb in schroffen Kanten, 
hell im Kampf mit strengen grauen Mächten
bäumt die aufwärtsflammende Seele sich:
rot und golden sind die Farben dieser Jungfrau.

Und aus Rot und Gold paart sich ein Schrei nach Liebe.
Rosen blühn aus meinen Händen auf,
jeder Kelch voll Tau und Sonnentraum.
Schwer in Büscheln rankt sich ein Clematisstrauch
um die Rosen lilasanft ins Blaue;
die Verheißung glüht aus allen Blüten.

Die Erfüllung log. Nun wirren sich die Fäden.
Fahl und grell verschlingen sich die Schnüre.
Jeder Weg ein Irrweg, und kein Kreis geschlossen.
Zuchtlos drängt sich wildes Gestrüpp
über meine Wiesen, meinen Blumenteppich;
und der Stern der Mutter birgt sich hinter Nebeln.

Da – ein klarer Klang: stark: eines Helden Ton.
Schwarz wie der Ursprung, golden wie das Licht,
und moosgrün wie der Wald, aus dem die ersten Menschen kamen.

Auch blau sein Himmel, aber mittagsblau;
auch rot sein Blut, doch nordlichtnächtig rot.
Und über Alles breitet sich ein(*) Glanz.

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Photo © Claudia Höhne

Das Perlgewebe (2024) for string quintet, piano and voice [Text by Ida Dehmel]

Performed by TILT Brass
-Trumpets: Wayne Dumaine, Rebecca Steinberg
-Horn: Kyra Simms
-Tenor trombone: Chris McIntyre
-Bass trombone: Mark Broschinsky

Recorded live at a concert at the Zürcher Gallery, New York
March 29, 2025
Sound by David Adamcyk

Instead of programme notes:
Stone, n. 
 […] as a type of motionlessness 
[…] of hardness, and hence as an emblem of insensibility, stupidity, deadness  
[…] a block, slab, or pillar of stone set up as a memorial.
Stone, v. 
 […] to put to death by pelting with stones.

(From the Oxford English Dictionary)

Cry of the Stones

Composer, pianist, & professor.
Omotesenke (表千家) tea ceremony's student

6 Dances for piano (2022) excerpt- Ostinato

Daniela Costa - Composer

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