"follow the leader," premiered by Bearthoven on 4/12 as part of Princeton Sound Kitchen (PSK).

Karl Larson - piano
Pat Swoboda - double bass
Matt Evans - drums/percussion

follow the leader

World Premiere, March 21, 2014
Eastman School of Music, Kilbourn Hall

HD Video: https://www.youtube.com/watch?v=hSRjKcoRLWw

Score: http://www.jasonthorpebuchanan.com/music.php

Double Concerto (2014) for Two Horns and Chamber Orchestra was written between November 2013 and March 2014, premiered by Jeff Nelsen, Michael Walker, and the Eastman Musica Nova Ensemble with conductor Brad Lubman on March 21, 2014. 

In 2008, I had written Mike Walker a work for horn and electronics that I now consider a turning point in my creative output, and throughout my undergraduate studies he remained one my closest friends and colleagues. The seed was planted for a horn concerto as far back as March 2011 through correspondence with Mike, and by June we had confirmed our plans to collaborate. The following year Mike suggested that I write a double concerto for himself and Jeff Nelsen, an exciting prospect and opportunity to explore the musical relationship between two hornists. We discussed the use of a "fluid" early valve horn technique that would utilize the natural partials available on each of the instruments, following in the footsteps of Ligeti's Horn Trio (1982) and Hamburg Concerto (1998-99; 2003), one of his last works. Ligeti writes about his own work on the Hamburg Concerto: "In this piece I experimented with very unusual non-harmonic sound spectra. In the small orchestra there are four natural horns, each of which can produce the 2nd to the 16th overtone. By providing each horn or group of horns with different fundamentals I was able to construct novel sound spectra from the resulting overtones. These harmonies, which had never been used before, sound "weird" in relation to harmonic spectra. I developed both "weird" consonant and dissonant harmonies, with complex beats." 

My own Double Concerto utilizes four valved horns, the two soloists accompanied by two obbligato horns in the ensemble, each freely alternating between valved and natural horn technique. In this work I sought to explore my (complex) relationship as a composer to classical repertoire, and in the same way that Ligeti draws from Brahms, I in turn take a page or two from Ligeti's book, among others. Throughout my creative life, perhaps no other composer has had such a strong an influence on me; he was the first living composer I became aware of, and I was immediately fascinated by his music. While living in Hamburg from 2010-11 I had the opportunity to study with a number of his former students and close colleagues, including Manfred Stahnke who helped me begin to raise many important questions in regard to my own creative process. I like to think of this work as a return of sorts after several years questioning the relevancy of pitch as a larger artistic dilemma; what is it about pitch that we as composers, performers, and listeners gravitate towards, perhaps above all else? We acknowledge music as organized sound, and thus all intentionally organized sound may be considered music. Yet, I find that the majority of composers, even today, remain fixated on this musical parameter more than any other. In the last three years I have quite intentionally been working to neutralize definite pitch and harmony in my works, favoring the exploration of nearly all other musical parameters and inharmonic spectra. For me, the horn is an instrument that is simultaneously very powerful and yet somehow still extremely fragile and organic in character. In being confronted with a musical situation featuring two horn soloists, I was faced to deal head-on with the issue of pitch within the context of my own musical language. 

Many thanks both to Brad Lubman and Jeff Nelsen, without whom this undertaking would not have been possible. This commission was funded in part by the Meir Rimon Commissioning Assistance Program of the International Horn Society.

Double Concerto (2014) for Two Horns and Chamber Orchestra

For two Amplified Acoustic Guitars (2014) 
Oh Mensch Duo - Kobe Van Cauwenberghe and Matthias Koole at Tzlil Meudcan Festival, Tel-Aviv July 2014

~ Please listen with headphones

Bnaya Halperin-Kaddari - Har Caxol (Blue Mountain [as Sand])

Ukho Ensemble Kyiv |  Luigi Gaggero, conductor | Nazar Stets, solo bass | Plivka, Kiev, 16.04.17

Avenue #1 | 5 Is Always Empty

"First Praise" was inspired by a William Carlos Williams poem of the same name.  The poem includes evocative phrases “dusk-wood fastnesses”, a “crisp splintering leaf-tread”, and “rivers strewn with stones”, creating a set of vivid nature vignettes.  This music represents an attempt to capture some of the distinct imagery and sensual sounds of that work.  

Purchase Sheet Music

First Praise

premiered 4/16 at Duncan Recital Hall - Houston, TX
conductor: Molly Turner
piano: Wesley Ducote

flute: Megan Torti
clarinet/bass clarinet: Justin Best
oboe: Julia Simpson
bassoon/contrabassoon: Kipras Mazeika
horn: David Tarté
trumpet: Ansel Norris
trombone: Caleb Knight
percussion: Erin Graham, Brandon Lim
violins: Francesca Bass, Likai He
viola: Sebastian Stefanović
cello: Jaeyoung Chong
bass: Jesse Fischer

Piano Concerto

Smart-alienation (2016) by Igor C. Silva 
the [Switch~ Ensemble]

Live video here: https://youtu.be/lspDg8r0FVQ

Image/Sound Festival
March 28, 2019
Rochester, NY

Zach Sheets, flute
Lauren Cauley, violin
T.J. Borden, cello
Megan Arns, percussion

Audio and video recorded, mixed, and edited by Jason Thorpe Buchanan

More at www.switchensemble.com


IGOR C SILVA
Born in Porto, 1989, and currently living in Amsterdam, Igor C Silva is a composer devoted to electronics and new media music, creating projects were performers, computers and many noisy and psychedelic things happen on stage, creating a multi-sensorial experience. Silva works regularly with ensembles, performers and orchestras, receiving many commissions from ensembles and festivals, and publishing several recordings with his music.
      Igor C Silva also works regularly with soloists, ensembles and jazz groups, devoting part of his musical and composing activity to improvisation and interactive performances with electronics and multimedia tools.  
     Chouette! for flute, cello and piano, was premiered in September 2009 in Austin (USA) and performed at "Future Places Festival”. In May 2010 he participated in the European project "Sound Art In City Spaces", where he created an installation/performance in Porto, along with several foreign artists.
      Silva was the Resident Young Composer at Casa da Música for 2012 and received several commissions and worked with Orchestra Sinfónica do Porto, Remix Ensemble, among others. He was also the Composer in Residence at Miso Music Studios in 2015, were he started to develop a new multimedia work that will be premiered in 2017.
      Recently, his work You Should Be Blind to Watch TV, for ensemble and electronics, won a recommendation at the International Rostrum of Composers in Estonia and also won a runner-up prize for the Ossia Ensemble in New York.
      Igor C Silva won several prizes, including the 1st Prize at the “2nd Composition Competition Casa da Música/ESMAE" with Terminus, for viola, live-electronics and lighting, 1st Prize at the "5th International Composition Competition of Póvoa de Varzim" with Flipbook, for quintet and electronics, and the 1st Prize at the “Concurso Internacional de Composição GMCL/Jorge Peixinho” with Blood Ink, for small ensemble and electronics.
       On upcoming projects stands out the concerts in many festivals including a portrait concert at Gaudeamus MuziekWeek 2017 and Soundofmusic Festival 2017, premieres of new multimedia pieces, and concerts in Netherlands, Belgium, Spain, USA, Portugal, Germany, Denmark, Norway, Switzerland, Mexico and Korea.
      Igor C Silva graduated in composition at Escola Superior de Música, Artes e Espetáculo (ESMAE) in 2011, and finished a Master degree in Composition and Music Theory in 2013. He also attended seminars with Magnus Lindberg, Jonathan Harvey, Pauline Oliveros, Kaija Saariaho, Wolfgang Mitterer, Betty Olivero, Marko Ciciliani, Pascal Dusapin, Bruce Pennycook and others. In 2017 Silva finished a Master Degree in live-electronics at Conservatorium van Amsterdam. Igor C Silva is currently a PhD candidate at VUB (Brussels) and Koninklijk Conservatorium Brussel.

Smart-alienation (2016) by Igor C. Silva - the [Switch~ Ensemble]

Schallfeld Ensemble | Graz, 06.07.20

Commission of CROSSROADS International Music Festival
with generous support from the PRS for Music Foundation

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Imago Sonora | Mattatoio, Nuova Consonanza Festival, Rome, 21.12.19 
Franco Evangelisti International Composition Competition - Finalists Concert 

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NAMES | Solitär Mozarteum, CROSSROADS Festival, Salzburg, 09.11.19

Earthscape II - Mycelia

no sense of self

Work commissioned by the Sheldon Arts Foundation in St. Louis, Missouri

Yoshiaki Onishi, bass clarinet
Leigh Muñoz, bassoon

March 6, 2020
The Sheldon Concert Hall
St. Louis Classical All-Stars

Yoshiaki Onishi - Gz III (2019-20) for bass clarinet and bassoon

Jason Thorpe Buchanan is an American composer of operatic, orchestral, chamber, electroacoustic, and intermedia works which explore fragmentation, multiplicity, intelligibility, behavior, and the integration of live performance with technology. He is Artistic Director of the [Switch~ Ensemble] and Artistic Associate/Lecturer in New Media and Digital Technologies for Music at the Hochschule für Musik Carl Maria von Weber Dresden, Germany in the Hybrid Music Lab. He served from 2018-2022 as Department Chair/Lecturer in Composition, Theory, and Electroacoustic Music at the College of Music, Mahidol University in Thailand, 2022 Interim Managing Director of the Mizzou New Music Initiative at the University of Missouri, and 2020 Visiting Lecturer in Composition/Interim Director of the Electronic Music Studios at the Butler School of Music, University of Texas at Austin. His works have been described as “an unearthly collage of sounds”, “sharply-edged”, and “free jazz gone wrong—in a good way.”
        Jason is the recipient of a 2010-11 Fulbright Fellowship at the Hochschule für Musik und Theater in Hamburg, Germany as a visiting scholar, commissions from the Mizzou International Composers Festival for Alarm Will Sound (2013), Iktus Percussion (2013), the International Horn Society for the Eastman Musica Nova Ensemble, soloists Jeff Nelsen, Michael Walker, and conductor Brad Lubman (2014), Ensemble Nikel/Tzlil Meudcan (Israel, 2014), the Blue Water Chamber Orchestra as winner of Iron Composer (2014), the NY Virtuoso Singers (2015), the Earle Brown Music Foundation for the Talea Ensemble and TIME SPANS Festival (NYC, 2017), the Thailand New Music and Arts Symposium for the TACETi Ensemble and augmented conductor (2019), and for TACETi and extended no-input mixer (2020), a fellowship and commissions from Royaumont for the Talea Ensemble+EXAUDI Vocal Ensemble (2016), and the Académie Voix Nouvelles Ensemble (2017), a German/American Fulbright Commission (2011), the Howard Hanson Orchestral Prize (2014), two ASCAP Morton Gould Young Composer Awards (2014 & 2015), an American-Scandinavian Foundation Grant (2015), 2017 Artist-in-Residence at the Brush Creek Foundation (Wyoming), and 2015 Artist-in-Residence at USF Verftet/City Council of Bergen, Norway.
        As a nominee for the 2015 Gaudeamus Prize, three works were presented by Insomnio, the New European Ensemble, and Slagwerk Den Haag at Gaudeamus Muziekweek (NL). His works walkside, lost and gimme shelter (2015), commissioned by Gaudeamus for Slagwerk Den Haag and by Eklekto Percussion Geneva, both explore the structural intersection of precise physical gestures, fragile sounds, and speech alongside live audio and video processing. As 2018 Artist-In-Residence at the Embassy of Foreign Artists in Geneva, Switzerland, he developed a new, interactive processing environment for surface, tension (2018), responding directly to the discrete physical gestures of performers and governing the behavior of both signal processing and triggering through wearable technology, sensors, and gestural tracking. Scenes from his multimedia opera Hunger have received performances at Darmstadt (2014) with Ensemble Interface, The Industry’s FIRST TAKE in L.A. (2015) with wild Up, and the MATA Interval Series in New York City (2015) with the [Switch~ Ensemble]. “Hunger is a kind of training session in mental disintegration… An ungodly opera needs ugly music, singers who produce primal sounds, an electric guitar that sounds scraped raw, a wailing orchestra effects, cuts the ear like a knife. Buchanan delivers.” – L.A. Times
        Mentors have included Ricardo Zohn-Muldoon, Steven Takasugi, Pierluigi Billone, Chaya Czernowin, Raphaël Cendo, Peter Michael Hamel, and Georges Aperghis. Jason served for three years as Executive Director of the Valencia International Performance Academy & Festival (Spain), for two years as a Curator for the San Francisco Center for New Music, as founding Director of the TICF International Academy for Young Composers, and as a Faculty Artist at the International Composition Institute of Thailand. As a doctoral student, he served as course instructor in electronic music and composition, board member of OSSIA, and assistant conductor for the Musica Nova Ensemble with conductor Brad Lubman at the Eastman School of Music. 
        As a guest composer, conductor, and lecturer, he is widely sought internationally at institutions such as the University of Chicago, Stanford University, TRANSIT Festival (Belgium), TIME SPANS Festival (NYC), Chamber Music Campania (Italy), the Eastman School of Music, University of Miami Frost School of Music, Music Science Share Educators Conference (Shanghai), Queens New Music Festival, MATA, the Thailand New Music and Arts Symposium, Yong Siew Toh Conservatory (Singapore), the Bergen Center for Elektronisk Kunst (BEK, Norway), and dozens of Universities throughout the United States. He holds a Ph.D. from the Eastman School of Music, and degrees in Composition and Music Technology from San José State University (BM & BA, 2008) and the University of Nevada, Las Vegas (MM, 2010), where he taught courses in composition and theory as a graduate student. Current projects include "Ecology of Disruption" for Line Upon Line, a percussion trio with generative electronics, lights, and video, an immersive collaborative work for the [Switch~ Ensemble] at EMPAC, and development of new systems for gestural tracking and interactivity within the Hybrid Music Lab, Dresden. 
www.jasonthorpebuchanan.com

Double Concerto (2014) for Two Horns and Chamber Orchestra

Jason Thorpe Buchanan

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Keith Gifford

Keith Gifford

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