As a composer he won the “Audience’s Choice Prize” of the Composition Competition of the Camerata Zurich for his “three questions for string orchestra and conductor” at a young age. He has since been commissioned several new works, which have been performed throughout Europe and Asia including in festivals such as “Flimsklang ’06”, Switzerland, “Klever Reihenkonzerte”, Germany and “recreate” in Austria.
Most recent performances of his work include “preludiofuga n. II” by WGC Heritage, “maybe later…” by the United Instruments of Lucilin, “Song after Sacro Monte di Ossuccio” by the Offenburger Ensemble and for the DONNE Foundation and “Platform Four” by the “Colours of Eden”.
In 2018 he concluded his first soundtrack composed for the documentary film “One Girl” directed by Rosa Russo, which has been gaining recognition in film festivals worldwide.
Current projects aim to explore how to express non-musical concepts through music. This has resulted in the opera “God Save the Tea” in collaboration with theatre director Irene Ros (premiered at the Tête-à-Tête Festival in London, 2019), short films for his “three miniatures” and the prelude from "preludiofuga n. I", a piece on procrastination "maybe later..." and a violin concerto (currently in developement) that explores contemporary human psychology. Recently he explored the experiences of 2020 in a piece for flute and guitar composed for TANGRAM called "Three Scenes At The Edge Of...", which had its premiere online in April 2021. His newest piece called "Burdened Berimbau" for viola and accordion explores various aspects of identity and nationality was commissioned by Poliphonia and premiered by Diphonon Duo at 1901 Arts Club in London.
Samples of WORKS
Listen and find out about some of my pieces for various instruments. This page is divided in three sections - music for live performance | opera | music for film | musical experiments - click on one of the words to go directly to the section you are interested in. For samples of music for film go to the relevant page using the music & film option in the menu! If you are interested there are some scores available by pressing the button SCORES above!
The piece stages the life of a melody, that after its birth in the prelude struggles to find its own unique identity clashing with several musical cultures and contexts until it dissolves in the noise of our time.
The Prelude fails to establish anything and dissolves into the Fugue. The Fugue is confused and tries to help the Prelude establish something by showing varying perspectives on possible subjects – in a way like someone trying to discuss a complex topic in a language they do not know very well. This dissolved state frustrates them.
In search of an unobtainable solution, Prelude’s and Fugue’s frustration gradually transcends their musical barrier and forces itself out of the performer through ‘non-verbal’ gestures. Not knowing what more to do, both Prelude and Fugue leave it to the ‘non-verbal’ gestures to decide their musical end.
A musical exploration of the feeling of procrastination for violin solo, crotales and bass drum composed for the United Instrument of Lucilin, Luxemburg. Live performance at Neimenster in Luxemburg.
Commissioned by Catrin Kirchner, Martin Merker & Anna Adamik | Text by Audrey Ardern-Jones
The piece is composed in a way that in can be performed using various combinations of the trio:
solo cello - solo piano - cello & piano - mezzo soprano & piano - mezzo soprano & cello - mezzo soprano, piano & cello
The concept follows the form of the poem by Audrey Ardern-Jones where the first half of the line is always the same as the second half of the previous line. The first version of the piece was for mezzo soprano and piano. Based on that the cello version was composed which led to the six existing possibilities. Any further versions to join would be composed based on the cello version and so on.
Composed for Fabricio Mattos and Georgia Knower for the Colours of Eden project | Text by Audrey Ardern-Jones
Commissioned by the InTakt Junges Kammerorchester and Kuratorium Aargau
When two meet on a first encounter and mimik each other and end on disasterous, though groovy, missunderstandings.
Inspired while cutting bread this piece is created as a three part story:
twisted tango - the two bread crumbs meet and dance a tango
... - they have an intense and long relationship slowly exchanging characteristics with each other
the row - they argue only to be suddenly eaten by their "creator"
Commissioned by Irina Ungureanu | Text by Dylan Spencer Davidson
At first there is noise. In the noise a deep primitive melody emerges slowly. It explodes into sounds of chaos in search of a language to communicate.
Three Questions for String Orchestra and Conductor:
the first takes the note "d" on a journey of discovery and reinvention
the second looks for meaning in random events
the third summarizes all and celebrates life, while wondering about heritage
Created with samples recorded using instruments from the Hug instrument collection of the Museum Bellerive in Zurich for their exhibition Saiten, Tasten, Sounds
God Save the Tea
Music: Lucas F. Jordan
Words: Irene Ros
Produced by cut moose
"We could call this performance a political satire in the form of an opera but – oh dear – how would that distinguish us from Downing Street? It is your moral obligation to attend this summit to encourage the cohesiveness of our society.
Drawing from our interventions at the Barbican Centre and the Mais Imaginarius Festival, we will discuss policies meant to improve western altruistic imperialism, on topics such as outsourcing, free trade and cultural exchange. Attendance is strictly regulated to protect free speech. Your presence may be recorded for training and quality purposes.
There will be tea. Lovely!"
Premiered at the Tete à Tete Festival in London, 5th August 2019
These experiments are pieces created using a mixture of techniques crossing many different styles and are a brief exploration into music production. In the recordings below I have used found sounds, recording and overdubbing, samples and several effects. Some of these have been used as basis for new projects, others are stand-alones. When recordings are used the performer is mentioned. All of these fall somewhere in a space between traditional composition and composition for media. Some are worked out meticulously and others where created on a whim of inspiration.