Negotiation (2024) for two pianos

Enchanted Foundations (2021) for solo Clarinet in Bb (excerpt)
Composed by Daniela Costa
performed by Janet Hilton (clarinet)
USA première, University of North Carolina at Chapel Hill, NC, June 1, 2024, live recording
© SIAE. All rights reserved to the author.

Enchanted Foundations (2021) for solo Clarinet in Bb (excerpt)

Lamiere, for ensemble and electronics (2024).
Composer: Matteo Tundo
Performed by Concrete [Lab] Ensemble
Directed by: João Quinteiro.

Live Recorded at O'culto da Ajuda, Lisbon (PT).
30 July 2024.

Lamiere, for ensemble and electronics (2024)

Inspired by and dedicated to the artwork of Orna Millo.
Conductor – Julia Tai
Flute – Sarah Pyle
Clarinet – Rachel Yoder
Percussion – Bonnie Whiting
Piano – Cristina Valdes
Violin – Luke Fitzpatrick
Cello – Christine Lee

Seattle Modern Orchestra.

University of Washington, Seattle, March 12 2025.
___________________________
In discussions on coherence in Western concert music, collages were often viewed as incoherent and jumbled forms due to their fusional nature, which led to a perceived lack of consistency. This criticism doesn’t necessarily apply to arts that are presented as static objects, like sculpture, painting, or architectural design—where coherence is judged by the unity of the (static) form. In contrast, this issue is relevant for art “in actus”—art-mediums that evolve over time, such as music, theatre, video, and dance—where coherence is assessed based on the temporal evolution and where forms gradually unfold.
The motivation for this piece began with my curiosity about what it would take to compose a collage that is uninterrupted and continuous, yet clearly communicates as a collage made of distinct materials, which, also when seeming to reappear, have been reformed to merely allude to their initial presentation.
As the piece evolves, fundamentally different ideas transform into one another, with each transition ensuring that one parameter—pitch collection, register, dynamics, duration, or timbre—remains unchanged across successive ideas. 
The image I envisioned while composing was that of a dark ride at an amusement park, where the emphasis lies in the paradox of expecting the unexpected.

Still Moves (2024)

Cor : Emma Clem
Violoncelle : Maya Devane 
Tuba basse : Thomas Mazaud
Contrebasse : Jules Bauer de Milleret

Phylactères

Frammento [94] - (2025) - for flute and double bass
Curva Minore

Alessandro Lo Giudice (flute)
Pietro Elia Barcellona (double bass)

Live recording on June 7, 2025 - Curva Minore archives
Sound engineer: Simone Sfameli
Sala Michele Perriera - Cantieri Culturali alla Zisa, Palermo




A fragment of farewell.
A voice suspended between presence and absence, between memory and disappearance. Like a turning point, the piece moves through a state of transition, where something comes to an end, and something else begins, uncertainly. Flute and double bass chase each other, touch, and imitate one another. Two distant registers searching for common ground, as if the sound could strive toward a single breath.
A dialogue of distances that stretch and contract, in a fragile but ever-moving balance.

Frammento [94] - (2025) - for flute and double bass

Centralia for amplified violin (2025)
Corinna Canzian 
Live recording - Mantova Musica del XXI secolo

Centralia

L'ombra doppia- for string quartet - F.F.Magaletti (2025)

Sospeso, per flauto e pianoforte

Roma, Teatro Studio Borgna (Auditorium Parco della Musica Ennio Morricone)
05/06/2025

Flavio Serafini, flauto
Jacopo Petrucci, pianoforte

Sospeso

Terra [ensemble HANATSUmiroir] 2025

Ensemble:
Voce: Clara La Licata
Flauto: Lavinia Giullari
Clarinetto: Marco Ignoti
Arpa: Alice Caradente
Violoncello: Sebastiano Severi


Testo: 
Ascoltami.
Tu non mi hai mai conosciuta.
Ascoltami, quest’ultima volta.
Tu non mi hai mai conosciuta.
Ascoltami, provo tanta tenerezza, una forte nostalgia.
Tu non mi hai mai conosciuta,
Non te ne faccio una colpa.
Tu non mi hai mai conosciuta,
Non ha più molta importanza.
Ricordo le nostre chiacchierate,
restare abbracciati tutta la notte, i piccoli gesti,
quei minuti di attesa ma…
Ho fatto la cosa giusta,
Per quanto doloroso.
Ho fatto la cosa giusta.
Anche se la tristezza e il vuoto ci porteranno a pentirci delle nostre decisioni,
non dobbiamo legarci a qualche dolce ricordo.
Dobbiamo andare avanti, le persone cambiano,
non sempre nel modo in cui speravamo.
Siamo stati bene insieme,
è carino pensarlo…

Lettera di una sconosciuta

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

Enchanted Foundations (2021) for solo Clarinet in Bb (excerpt)

Daniela Costa - Composer