soliloquios del viento (2016)
for Talea Ensemble and EXAUDI
six singers, bass flute, bass clarinet, tenor saxophone, percussion, piano, violin, viola, and cello
Commissioned by Voix Nouvelles de la Fondation Royaumont
World Premiere: Royaumont Abbey, France - 9/09/2016


Please contact me with any questions,
including rental/purchase information: jasontbuchanan {at} gmail.com

MUSIC

Hunger (2014-, work in progress)
A Multimedia Opera in Four Parts
for two sopranos, baritone, alto flute, bass clarinet, baritone saxophone, electric guitar, percussion, piano, violin, cello, electronics, & video processing
Part III Co-Commissioned by the Darmstadt Contemporary Opera Workshop, The Industry L.A., Ensemble Interface, and the [Switch~ Ensemble]
CREATION & BRIEF SYNOPSIS:
Knut Hamsun's novel Sult is a point of departure for a libretto by award-winning poet Darcie Dennigan, exploring themes of psychological decay, irrationality, and self-destruction. Oumenos is a starving and delusional young writer unwilling to compromise his work even as his intellect and body gradually deteriorate. He is split in two; the baritone and soprano form a composite, each depicting aspects of his inner/outer selves and suppressed madness. His hunger and self-disgust lead him to consider stealing bread, and to thoughts of self-mutilation. He despises his baseness. He is a dog. He is drawn to Ylajali (mezzo-soprano), a young girl who appears to him in various manifestations…. (complete program notes...)


More at
www.hungeropera.com

hunger score
        

soliloquios del viento was commissioned by Royaumont Académie Voix Nouvelles, written in August 2016 and premiered by the Talea Ensemble & EXAUDI in September, conducted by James Baker. This fourteen-minute work is a meditation on eight poems of Pablo Neruda, reflecting love, distance, and despair. Six singers are set against eight instrumentalists whose fragile and often voiceless sonorities gently color and obscure the murmuring of the text and pointillisic vocal material. The Spanish text is predominantly unintelligible, with the content of Neruda's words instead conjured by the composite texture. He writes of two lovers, their romance characterized by abrasion -- a rendezvous between two scorched, ascetic souls, who consume and destroy one another, entangled yet divided by both sublime transfiguration and inexorable chaos… (complete program notes...)
gimme shelter (2015)
for Eklekto Percussion
three percussionists, electronics, and video processing
Text by Darcie Dennigan
Commissioned by Eklekto Percussion Center, Geneva

World Premiere: Geneva, Switzerland - 11/14/2015
walkside, lost and gimme shelter are two works in a cycle of compositions for three percussionists, electronics, and live video processing on texts by poet Darcie Dennigan, the first for Gaudeamus Muziekweek & Slagwerk Den Haag, the second for Eklekto Percussion Geneva. The pieces both revolve around the structural intersections of precisely notated gestures that influence human performance with software systems that influence behavior of multimedia, the obfuscation or recontextualization of semantic content in speech, and the way in which confusion and ambiguity distort a participant's perception. The systems I have designed for these works serve to generate reservoirs of video and audio in real-time that are recalled, manipulated, and re-composited against themselves during the live performance... (complete program notes...)
Audio, and video coming soon.
              
hunger fragments (2015)
for The New York Virtuoso Singers
sixteen solo voices
Commissioned by The New York Virtuoso Singers
Text by Darcie Dennigan

World Premiere: New York City, NY - 11/29/2015
hunger fragments is an assemblage of texts for sixteen solo voices, stripped from the libretto for the multimedia opera Hunger by Darcie Dennigan and Jason Thorpe Buchanan. These texts have been woven together to create a new work, independent from the opera, that functions as an impression of its essence. The stripping away of narrative leaves only a bare and visceral refraction, alluding to themes of psychological deterioration, fragility, and fragmentation of self or multiplicity. Poet Darcie Dennigan writes: "After reading accounts of writers who nearly starved for their writing, like Knut Hamsun's Hunger and Mavis Gallant's "Hunger Diaries," I became interested in the line between physical hunger endowing a kind of clarity of mind in a writer and physical hunger overtaking, muddying the mind. I, like this multi-threaded piece, am of approximately... (complete program notes...)
walkside, lost (2015)
for Slagwerk Den Haag
three percussionists, electronics, and video processing
Text by Darcie Dennigan
Commissioned by Gaudeamus Muziekweek

World Premiere: Utrecht, Netherlands - 9/13/2015
walkside, lost and gimme shelter are two works in a cycle of compositions for three percussionists, electronics, and live video processing on texts by poet Darcie Dennigan, the first for Gaudeamus Muziekweek & Slagwerk Den Haag, the second for Eklekto Percussion Geneva. The pieces both revolve around the structural intersections of precisely notated gestures that influence human performance with software systems that influence behavior of multimedia, the obfuscation or recontextualization of semantic content in speech, and the way in which confusion and ambiguity distort a participant's perception. The systems I have designed for these works serve to generate reservoirs of video and audio in real-time that are recalled, manipulated, and re-composited against themselves during the live performance... (complete program notes...)
        


      de/ter|           |ior.ation (2015)
in/               |minate|
for the Blue Water Chamber Orchestra
2.2.2.1-1.2.0.0-Timp+1-6.5.4.3.2

Commissioned by the Blue Water Chamber Orchestra as winner of Iron Composer 2014

World Premiere: Cleveland, OH - May 9, 2015
Second Study for Alto Saxophone, Video, and Electronics: pulp (2015)
Co-Commissioned by Matt Evans, Casey Grev, Emily Loboda, Marta Tiesenga, & Sean Fredenburg
World Premiere: Strasbourg, France - July 13, 2015
Second Study for Alto Saxophone, Electronics, and Video: pulp (2015) was premiered at the World Saxophone Congress in Strasbourg, France in July 2015 by Matt Evans, and is based on the life and work of American poet Charles Bukowski. The work utilizes source materials - audio and video footage - recorded throughout Bukowski's life, such as interviews, documentaries, and poetry readings. The work gradually developed from an initial proposal for a work with voice, saxophone, and electronics, to instead include the soprano within the boundaries of the multimedia. The result is a collage made up of the superimposition of source materials, newly recorded media using texts of Bukowski and emulation of saxophone recordings, and video capture that is processed and composited against each opposing stream of video in real-time during the performance... (complete program notes...)
Full video coming soon.

ne2k-pco.c:v1.03
hda:
ide0 at 0x1f0-0x1f7,,0x3f6 on irq
hdc:
ide1 at 0x170-0x177,0x376
ACP1: PCI Interrupt:
|

PANIC ARCHITECTURE (2017)
for Talea Ensemble
1.1.1.1-1.1.1-2 Perc, Pno, Hp, 1.1.1.1.1
Commissioned by the Earle Brown Music Foundation TIME SPANS Festival
World Premiere: DiMenna Center, NYC - 8/01/2017
ACTOR-NETWORK THEORY (2017)
for the Royaumont Voix Nouvelles Ensemble
soprano, bass flute, bass/contrabass clarinet, harp, piano, percussion, violin, viola, cello, and electronics.
Commissioned by the Fondation Royaumont
World premiere: Royaumont, Asnières-sur-Oise,
Paris Region - 9/08/2017
ACTOR-NETWORK THEORY was commissioned by Fondation Royaumont and composed between April and August of 2017 for the Royaumont Académie Voix Nouvelles Ensemble's instrumentation of soprano and mixed ensemble, with electronics.  The work is structured around two pages of text, culled from over 18,000 words generated by the DadaDodo engine, a class of program known as "dissociators" that "analyses texts for word probabilities, generating random sentences based on that." The result is sometimes nonsensical, but often reveals intriguing alternative meanings or associations. These fragments were then composed into a linear blueprint, using the resulting speech patterns as a temporal framework. ANT was developed by Latour and others as an analytical tool to map and attempt to explain relationships and interactions between human and non-human 'actors', exploring how material-semiotic networks are formed, hold together, or fall apart... (complete program notes...)
soliloquios del viento (2016; rev. 2017)
version for sextet and electronics
(original version for six singers & octet)
Premiere of sextet version: Ensemble Interface, VIPA Festival, 7/02/2017
Premiere of original version: Talea & EXAUDI, Royaumont Abbey, France - 9/09/2016
soliloquios del viento was commissioned by Royaumont Académie Voix Nouvelles, written in August 2016 and premiered by the Talea Ensemble & EXAUDI in September, conducted by James Baker. This fourteen-minute work is a meditation on eight poems of Pablo Neruda, reflecting love, distance, and despair. Six singers are set against eight instrumentalists whose fragile and often voiceless sonorities gently color and obscure the murmuring of the text and pointillisic vocal material. The Spanish text is predominantly unintelligible, with the content of Neruda's words instead conjured by the composite texture. He writes of two lovers, their romance characterized by abrasion -- a rendezvous between two scorched, ascetic souls, who consume and destroy one another, entangled yet divided by both sublime transfiguration and inexorable chaos… (complete program notes...)
surface, tension (2018)
for Alexandra Bellon and Anne Briset
two percussionists, sensors, electronics, and live-video processing environment.
Supported by the Republique et Canton de Geneve
World premiere: Embassy of Foreign Artsits, Geneva, Switzerland - 5/24/2018
surface, tension for two performers, electronics, and live video processing is the third installment in a cycle of works for ensemble and immersive processing environment. During the performance of each work in the cycle, reservoirs of media files are created, retrieved, re-organized, and composited against one another, creating temporal, aural, and visual dissonances between past and present actions—events unfolding on stage and in media generated in real-time. The commingling of fluctuating chronologies creates temporal instability, challenges the mutability of memory, and proposes an alternative, speculative engagement with bodily-lived time. Until recently, multimedia has offered limited flexibility for expansion, development, or reaction to live performers. In many cases, causality has been an illusion, due to fixed automation values or pre-recorded media that is simply played back at predetermined synchronization points. In response, I have worked to develop and refine an interactive intermedia processing environment in which the discrete physical gestures of performers govern the behavior of audio and video processing... (complete program notes...)


all-forgetting-is-retrieval
(2019) for TACETi Ensemble
alto sax, bass clarinet, bass trombone, electric guitar, percussion, violin, cello, augmented conductor, and electronics
World premiere: Thailand New Music and Arts Symposium, Bangkok Arts and Culture Centre, Thailand - 7/7/2019
all-forgetting-is-retrieval was commissioned by the TACETi Ensemble for the 2019 Thailand New Music and Arts Symposium at the Bangkok Art and Culture Centre (BACC) in Bangkok. This work explores the formation of human memory, retrieval, and failure. "There is a common belief that forgetting is strictly due to a retrieval failure. It is curious why this idea of a permanent memory is so appealing...the storage of information is not perfect. Storage as well as retrieval is subject to failure. Thus, the hypothesis that all-forgetting-is-retrieval is incorrect. For information in this state of permanent [long-term] memory, all subsequent forgetting is assumed to be caused by a retrieval failure. Yet...there is no known biological mechanism to stop the adaptive changes in memory from continuing and thereby possibly destroying the prior learning record. If the learning environment changes, the same adaptive mechanisms that created the memory in the first place will continue to rearrange the structure of memory and potentially destroy the former memory representation." ... (complete program notes...)
SCORE AND RECORDING COMING SOON