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.
Lucas Jordan studied composition at the Zurich University of Arts, Switzerland with Isabel Mundry, Andreas Nick. He also participated in the student programmes of Wittener Tage für Neue Kammermusik and Donaueschingen Musiktage as well as the Luxembourg Composition Academy of the United Instruments of Lucilin.
examples of pieces
Listen to examples of his pieces below - there is music for live performance | opera | music for film - click on one of the words to go directly to the section you are interested in. If you are interested in knowing more about all of his pieces go to the list of pieces section and click on the individual titles.
Three Scenes At The Edge Of... were commissioned by TANGRAM and Chinese Arts Now and premiered online in April 2020 in a performance by Yi-Hsuan Chen, flute and Fabricio Mattos, guitar. Recorded at the Clock Tower in St. Pancras, London, UK and it was filmed, mixed and edited by Bernardo Simões. More information HERE!
Burdened Berimbau was commissioned by Diphonon Duo and Poliphonia. The premiere took place at the 1901 Arts Club in London, UK in November 2021 and it was simultaneously live streamed. Performance by Diphonon Duo with Michalis Iskas, viola and Iñigo Mikeleiz-Berrade, accordion. More information HERE!
Words and dramaturgy by Irene Ros, music by Lucas F. Jordan, produced by cut moose. The premiere took place at the Tete à Tete Festival in London, 5th August 2019
list of pieces
preludiofuga n. I for viola da gamba
preludiofuga n. II for romantic guitar
the story of the two bread crumbs for flute and chopping board
dialogos for soprano solo
passagalia for violin solo
tentativas brasileiras n. 1 - 3 for piano solo
Burdened Berimbau for viola and accordion
Three Scenes At The Edge Of... for flute and guitar
maybe later... for violin and percussion
Platform Four for mezzo soprano and guitar
Song after Sacro Monte di Ossuccio for varying combinations of voice, flute, cello and/or piano
Three Miniatures for soprano, flute, clarinet, violin and cello
Three Commentaries for string quartet
abstract(ed) conversation for bass clarinet and marimba
Ode to the London Underground for speaker, two whistlers and viola da gamba
La Leggenda della Bella Ninfa for narrator, flute, cello and accordion
God save the tea for three actors, flute and cello
Interruption and Epilogue for four flutists
Remembering something past for flute, alto flute and bass flute
un rencontre à deux for bass clarinet and marimba
O Vento for flute and piano
84 days for soprano, mezzo soprano and piano
Violin Concerto for violin and double string orchestra (or double string quartet and double bass)
Three Questions for String Orchestra and Conductor
Sound Installation for "Saiten Tasten Sounds" at Museum Bellerive
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
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