This piece of music was inspired and written for the appreciation of reality itself; the objective truth of the world seen through the limitations of us. "In the beginning God created the heaven and the earth," a lack of justification, just a mere statement to what is, an objective truth in faith. I felt it was appropriate to leave this first piece open-ended in order to be able to continue a cycle of future organ pieces to finish the chapter of Genesis.

The Word Of God Op. 2, No. 1 (For Organ)

The Word Of God Op. 2 No. 2 (For Organ)

In our history, we have lived through many horrendous stages of life that some have experienced, and those who have only read about it. In the year 2020, I experienced what, then, seemed only like a mild event taking place in our world that quickly developed into something that put us all at stake. COVID-19 was at the forefront of the conversation and a crisis to us as a people of this Earth. We had a pandemic on our doorstep; millions of lives infected with sickness, and subsequently many had the misfortune of death. Our only response was to isolate ourselves from each other, something that in retrospect, denied us the exact meaning of human existence. We are social beings, and we maintain ourselves to our social bounds, whether that be emotionally, intimately, occupationally, family, or what have you. For the first time in my life, I experienced the absolute nature of solitude. This piece attempts to give you my longing of interaction with anyone and everyone. I attempt to give you my inner true self— for I remained silent for what seemed to be an eternity. This second piece takes the perspectives of the performers who commissioned this song cycle. I used their experiences of the isolation period to inspire me.

Ciclo De Canciones Op. 4, No. 1 ¿Donde Estas? (For Tenor Voice and Piano)

Ciclo De Canciones Op. 4, No. 2 Arriva Ascende El Azulejo (For Tenor Voice and Piano)

Some have had the unfortunate circumstance of being captured by mental illness, whether that be though depression, anxiety, trauma, or some other diagnosis. This piece was created to reduce anxiety and incorporates a breathing technique to help reduce an individual’s heart rate and put them in a relaxed state.

Meditation, The Void, And Transcendence Op. 10 (For Harp)

The inspiration for this piece came from a principle that I developed: live life to achieve the most absolute truth, or at minimum, come closest to truth as possible. It extended from a philosophical idea that I was not aware of until I was directed to the literature. In essence, I started to approach composition in the manner that relied more on the objects qualities than looking fully within myself to create a representation that was solely imagined; this led me to treat every composition as a research paper of sorts where the object gave me objective information. In this piece, as the name implies, is geared towards the topic of the oceans. One of the many things I did, to keep it brief, were: read established research on the ocean’s ambient-activity frequencies located on the ocean floor, research aquatic life (specifically in life associated with bioluminescence), depict the five levels of the ocean, and read research that provided frequencies specifically from blue whales. Using the spectral attitude, I developed a soundscape that governs the entirety of the piece. This piece attempts to personify the ocean and its qualities as closely as possible to its truth.

Reflexiones De La Naturaleza Op. 1, No. 2 "Ocean" (For Pierrot Ensemble; -Voice, + Percussion)

Con Caronte explores the profound and transformative journey of a soul transitioning from life to meeting Charon, the mythical boatman who ferries souls to the next life. Traditionally, this voyage is associated with the passage across the river Styx to Hades. In this composition, however, the journey takes on a different character. It begins with an eerie and unsettling atmosphere, capturing the uncertainty and mystery of the afterlife. As the piece progresses, a sense of acceptance and peace emerges, suggesting that the destination is not the foreboding realm of Hades, but a place of deeper significance and eternal resolution. This journey, while daunting at first, ultimately leads to a state of serene and infinite solace.

Con Caronte, "With Charon," Op. 12 (Trio: Flute (Meynig), Bass Clarinet (Bailey), Cello (Kraines))

This composition traces the mind's gradual journey from life to death, illustrated through evolving brain wave oscillations. It progresses into the Moribund state, where the individual hovers at the edge of life, teetering between existence and the unknown. As the oscillations slow and fade, the music mirrors the fading pulse of life. The piece reaches its conclusion in a serene, transcendent soundscape, embodying the soul's ascent to a state of pure being—Nirvana—where all dualities dissolve, and the individual is enveloped in a profound and timeless oneness.

Commissioned by Detroit Chamber Winds & Strings. Performed by Eris Quartet.

String Quartet No.1, Op. 13 I. Oscillation, II. Moribund, III. Nirvana

This composition is a sonic exploration inspired by the profound experiences recounted by individuals who have journeyed through the transformative realms facilitated by Psilocybe Cubensis, colloquially known as "Magical" mushrooms. It delves into the multifaceted dimensions of this naturally occurring hallucinogen, blending religious inquiry with scientific curiosity. In delving into religious perspectives, the research unveils a spectrum of intentions behind the use of this mystical fungus. Some seek enlightenment, a quest for truth, while others aim to transcend into spiritual realms. Yet, regardless of the diverse intentions, a common thread emerges — the aspiration to elevate one's consciousness and embark on a journey of profound self-discovery. This overarching theme serves as the narrative backbone of the composition, guiding the listener through the stages of ingestion, intensified hallucination, uncertainty, and ultimately, an altered state of reality. Sonically, the composition mirrors the essence of Psilocybe Cubensis itself. Drawing inspiration from its molecular makeup, particularly the hallucinogenic compounds Psilocybin and Psilocin, the music is structured to echo the intricate patterns and ethereal qualities of these substances. Through a unique process of sonification, the molecular structures of Psilocybin and Psilocin are translated into sound, imbuing the composition with an otherworldly texture and resonance. Furthermore, the rhythmical elements of the piece conceal a hidden message, encoded within Morse code. This clandestine inclusion adds another layer of intrigue, inviting listeners to unravel the mysteries embedded within the sonic tapestry. In essence, this composition serves as a sonic voyage into the realms of consciousness, inviting listeners to explore the profound mysteries of the mind and spirit through the lens of Psilocybe Cubensis.

Commissioned by Alexis Eubanks

Psilocybe Cubensis Op. 8, No. 1 Live Performance (for Flute, Percussion, & Electronics)

My compositional process usually follows a methodology that treats each composition like a research paper. In other words, regardless of the topic I’m writing about, I strive to understand it deeply and depict it as truthfully as possible. This involves gathering fundamental data that represents the subject while minimizing the imposition of personal bias. 

With this set of pieces, however, I embrace human subjectivity and improvise music without any referential data—apart from what I feel is speaking through me. Improvised on the piano and recorded in Logic Pro X, the performance is later transcribed into a score, which reflects the improvisation exactly.

Recorded and Performed by John Solari 

Imposición de Humanos Op. 9, No. 1 (Solo Piano)

Website: www.jeremyesquer.com
Instagram: esquerjeremy
Email: jesquer@umich.edu

Jeremy Esquer

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