Score Follower: https://www.youtube.com/watch?v=XEkwERKf8WE
Written for and recorded by the JACK Quartet (https://jackquartet.com/).

Christopher Otto and Austin Wulliman, violins
John Pickford Richards, viola
Jay Campbell, violoncello

Recorded by Brian Riordan at Salisbury Congregational Church, Vermont, June 2021.

*good quality headphones or loudspeakers are recommended*

as eroding arches collide [2021] for string quartet

L’atmosphère poétique de la pièce se réfère au mythe d’Apsarás. Selon la mythologie hindouiste, les Apsarás sont des nymphes de la mer. Leur esprit naissant des nuages et de l’eau, elles sont d’une très grande beauté. Reconnues comme des déesses de la danse, elles dansent dans les palais, séduisant parfois les Dieux et les hommes.
Le mythe d’Apsarás réunit à la fois la discontinuité et la fluidité des mouvements, exprimant le souvenir de la sensation des mouvements de la danse et lié à la contemplation de la nature. Pour moi, la danse des Apsarás représente la liberté des mouvements, au-delà de la chorégraphie, pour s’en détacher, afin de rendre chaque mouvement, chaque déplacement audibles et sentis.
Ma pièce se termine par un enchaînement circulaire, des cercles hétérogènes, intégrant à chaque fois d’autres cercles, d’autres paramètres, telle une machine, afin de créer un état de fluidité où il devient possible de contempler les sonorités de la nuit, les harmonies et tous ces états nostalgiques nous venant de la nature.

Direction:  Lorraine Vaillancourt
Nouvel Ensemble Moderne

Negras Apsarás

Public Open Reading, Herbst Theatre, January 5, 2024
SF Contemporary Music Players, Eric Dudley conducting

Eda Er - Beyond the Pacific Ocean

Originally inspired by oleanders, the first flowers to bloom in Hiroshima after the bomb, "flowers which bloom from blackened earth and poisoned air" is a piece reflecting on environmental destruction, resilience, and hope through duration, slow transformation, and timbral complexity. The piece unfolds in four stages which create affective sonic environments, each containing an enmeshment of one another. 

resonant earth | blackened earth | poisoned air | flowers blooming

written for Broken Frames Syndicate

premiere date: february 2, 2024 at Harvard University’s Paine Hall, Cambridge MA

flowers which bloom from blackened earth and poisoned air (2023) | Broken Frames Syndicate

crumar mojo classic
behringer super fuzz

7.16.24 - Chicago
www.jacklangdon.info

digital tonewheel organ solo w/ fuzz pedal, 7.16.24

Premiered by sonic space basel alumni ensemble on June 25th, 2023 at Don Bosco Basel, Switzerland; commissioned by the Musik-Akademie Basel.

Mixed by Janik Pokorny.

As I laid; flesh, in a puddle of blood. - for Amplified Ensemble, Transducers, and Live Electronics

Étude - SORA (2024)
for 8 soloists

Credit: Internationale Ensemble Modern Akademie 2023-24
Conducted by: Yannick Mayaud
Audio Engineer: Markus Güdel

premiered at Lucerne Festival
Photo Credit: © Lucerne Festival/Priska Ketterer

Étude SORA for 8 soloists

For Brass Quartet

Christine Chapman, horn
Marco Blaauw, trumpet
Stephen Menotti, trombone
Maxime Morel, tuba

Premiered by Ensemble MusikFabrik on January 13, Cologne, Germany

Submerged Disco for Brass Quartet

Ninth Planet performs "Always Welcome; Never Invited by Eda Er 
Jessie Nucho, Flute 
Eda Er, Electronics

Premiered on Feb 2, 2025 at Wu Performance Hall, UC Berkeley, CA

Always Welcome, Never Invited for solo flute and electronics

“Colorless green ideas sleep furiously” is a sentence created by the linguist Noam Chomsky as an example of a sentence that is grammatically correct, but semantically nonsensical.
The Brazilian poet Haroldo de Campos, in his book Galaxias, appropriates this phrase, re-signifying it in describing the dance of Iansã, goddess of Brazilian Candomblé.
According to the Yoruba mythology, Iansã commands winds, storms and lightning. She is energy alive, pulsating and vibrant. She is the movement: "the goddess who sleeps dancing".
From this point of view, for someone who knows the Candomblé tradition, the sentence by Chomsky/Haroldo de Campos is grammatically correct and meaningful.
This piece, therefore, is inspired by this complex image that connects language, rite, myth and poetry. It is dedicated to Charles Silva, from Bahia, who shared with me some of the mysteries of the Afro-Brazilian drumming.

Violins: Rachel Koblyakov and Igor Zavgorodnii
Ukho Ensemble
Direction: Luigi Gaggero

Colorless Green Ideas Sleep Furiously!  - version for 2 violins and ensemble

Brazilian composer, performer, and researcher. 
PhD candidate - Department of Music/CNMAT, UC Berkeley (USA).

[profile photo by Gui Machala at Festival Plurisons 2024, Belo Horizonte/Brazil]

https://www.dannielribeiro.com/
https://cnmat.berkeley.edu/people/danniel-ribeiro

Contact: 
dannielribeiro@berkeley.edu
dannfribeiro@gmail.com
ig: 
www.instagram.com/danniel1ribeiro
YouTube:
https://www.youtube.com/@DannFRibeiro

Bio: 
Danniel RIBEIRO is a Brazilian composer from Bahia. His compositional practice is driven by research and creative exploration, focusing on exploratory instrumental writing and improvised performances supported by emerging technologies and informed by investigations into culture and identity. He examines musical gesture, instrumentality, and materiality to expand the expressive possibilities of complex timbral constructs and instrumental/sound phenomena in his compositions. His work integrates theoretical inquiry with practical experimentation, often involving the development of tailored instrumental preparations, modifications, notational systems, practical sculptural objects, amplification/transduced electronic apparatuses, and performance techniques. Danniel’s goal is to critically engage with social and cultural dimensions of contemporary concert music through research, analysis, performance, and creation, exploring the interplay between idiosyncratic artistic invention and broader cultural dynamics.

A four-time recipient of Brazil's National Composition Prize (FUNARTE), Danniel has participated in events and residencies, including Klangspuren Schwaz (Austria), the Banff Centre (Canada), Domaine Forget (Canada), Barcelona Modern (Spain), Darmstadt (GER), Festival Musica (France), New Music on the Point (USA), and ilSUONO (Italy). His works have been performed at notable venues and festivals such as Empreintes (France), Morelia (Mexico), and Sala São Paulo (Brazil).
​
Danniel has collaborated with leading international ensembles, including L’Instant Donné, Yarn/Wire, Schallfeld, JACK Quartet, Barcelona Modern, RAGE Thormbones, collective lovemusic, Dal Niente, Vertixe Sonora, and Suono Giallo. He has also benefited from advanced studies with Chaya Czernowin, Franck Bedrossian, Clara Iannotta, Philippe Hurel, Malin Bång, Toshio Hosokawa, Felipe Lara, Daniel D'Adamo, Januibe Tejera, Mark Andre, Brian Ferneyhough, and Du Yun.

Danniel earned his master’s degree in composition (M.Mus.) at the Schulich School of Music of McGill University (Canada) in 2018, studying under Philippe Leroux. As a laureate of the 2023/24 George Ladd Prix de Paris, he pursued independent studies in France and recently completed the postgraduate specialization in instrumental and mixed composition at the Conservatoire de Strasbourg (France). Currently, Danniel is a Ph.D. candidate in music composition at UC Berkeley (USA), studying with Edmund Campion, Ken Ueno, Myra Melford, and Carmine-Emanuele Cella.

as eroding arches collide [2021] for string quartet

Danniel Ribeiro