I composed this piece during my last days in California as I was preparing to move to Poland to pursue my Fulbright. At the time I had never been to Poland, so I spent many hours researching life in Kraków, studying the language, listening to Polish music, and admiring the paintings of Zdzisław Beksiński. 

Otchłań, translated from Polish to English, means abyss.

Thanks warmly to the Society for Electroacoustic Music in the United States (SEAMUS) for commissioning this piece in 2021.

Otchłań (2021)

Nigel Hedbørd (demo, 2021)

LOM Mikrouši Pros - Sound Devices MixPre-10ii
44.1 khz, 24-bit WAV, factory limiter and 80hz low cut engaged

Singing In The Street

Horse Drawn Carriage

Horses & Tram

7pm - Trumpet

Christmas Market Ambience

Walking Out To A Busy Street

"Digital synesthesia: How computers enable us to see sounds" 

Two short musical creations for a presentation at the Jan Matejko Academy of Fine Arts in Kraków

See this

In amber

An electronic composition whose source material is a collection of field recordings (urban, nature, and electromagnetic) I’ve captured since I began field recording in 2018. The recordings are blended together using spectral morphing, wavetable, and granular synthesis, then reorganized to form the piece. 

Prismatic daydream was premiered at CSW Solvay's Strefa222 concert series in Kraków, Poland on February 13th, 2022.

Prismatic daydream

Field recording of a protest in front of the Russian Embassy in Kraków the day after the Ukraine invasion began. 

Mikrouši Pros, MixPre-10ii, iZotope Ozone, Ableton

(Excerpt) February 24 2022 - Protest In Kraków

Recorded at the Purchase College Conservatory of Music on May 3rd, 2014.

Sarah Wolffe — Violin
Emily Frederick — Violin
Michela Christianson — Viola
Terrence Thornhill — Violoncello
Naseer Ashraf — Piano
Jeremy Wexler — Conductor

Adam Pietrykowski, Recording

Löschen; for piano quintet (Purchase New Music, 2014)

Performance from "SUNY Purchase Composers @ The Stone"
Sunday, May 3rd 2015 at The Stone, NYC. 

Homage pays tribute to one of my favorite composers: James Tenney. For his composition- Diapason- Tenney created a microtonal scordatura system for the string instruments of the orchestra, where the lowest open string is a B-flat in the contrabasses and the higher strings are re­‐tuned in accordance with the upper partials of the harmonic series of that B-flat. Tenney also assigns the string orchestra not to play any traditionally fingered notes; only open strings and natural harmonics are used.

My composition is written with similar performance rules. The microtonal tuning system of my piece is similar to James Tenney’s, but the difference is that the tones are not informed by the harmonic series. Instead, I have kept all the open A‐strings across all four instruments in standard 440‐Hz based tuning. The remaining twelve open strings are re‐tuned so that each of the eleven pitch classes of the octave are represented (the pitch class G‐natural is doubled, but the difference between the two G’s is 37 cents.)

Like Diapason, the performers in my piece also use only open strings and natural harmonics. However, I am able to explore fingered notes on the A‐strings since the tuning is kept standard. The tuning system along with a map of the natural harmonics is provided to the performers.

Very special thanks to:

The late James Tenney for his music and artistic inspiration
Alex Fortes, violin
DJ Cheek, viola
Michael Nicolas, violoncello
Logan Coale, contrabass
Suzanne Farrin, my mentor who made this performance possible
John Zorn

For James Tenney; microtonal strings(Alex Fortes, DJ Cheek, Michael Nicolas, Logan Coale, 2015)

mellarium #1
for the MIVOS quartet

Olivia De Prato, Violin I
Lauren Cauley, Violin II
Victor Lowrie, Viola
Mariel Roberts, Cello

My piece was inspired by The Unseen: An Atlas of Infrared Plates, a series of photographs shot by Edward Thompson using Kodak Aerochrome film. This color infrared film was born of scientific necessity, originally being used to document crops, forestry, hydrology, and environmental damage from an aerial point of view. This inspired Thompson to create the expositive Unseen series, in which he uses some of the last remaining original Aerochrome film to make "invisible" things visible (such as radioactivity in forests, urban air pollution, abandoned amusement parks, and the daily lives of displaced people). Looking at the photos, the coloration of the sky, grass, leaves, and other objects are dramatically altered, but their shapes are perfectly preserved. My string quartet for MIVOS shares its title with one of the photographs from The Unseen, which depicts two beekeepers in full protective clothing harvesting honey in front of
maroon-colored foliage with industrial powerlines and a dark blue sky hidden in the background. 

The visual effects of this film— and this idea of obscuring and abstracting familiar objects while exposing others— reminded me of techniques I employ in my music. My process often depends on a simple musical starting point which is gradually altered so that it's essence evolves and morphs over time. At the core of Mellarium #1 is a long G3 which is exchanged between all the instruments and abstracted coloristically and microtonally. The end of the piece is based on a frequency analysis of the sounds of bees swarming; the composite buzzing of the bees also producing a G3.

Thank you Olivia, Lauren, Victor, and Mariel!

Premiered in the Center for New Music in San Francisco, 4/14/17.

Mellarium #1; for string quartet (Mivos, 2017)

Performed in Kyiv, Ukraine by the Ukho Ensemble, 2018. 
Rachel Koblyakov, Igor Zavgorodnii; violin soloists.

Nystagmus; for 2 violin soloists and ensemble (Ukho Ensemble, Kyiv, Ukraine, 2018)

Here's a small sneak preview of a series of field recordings captured in remote parts of California. The crew consists of composers Nick Virzi, Brian Cook, and myself.

(Headphones recommended)

https://soundcloud.com/nickvirzi  
https://soundcloud.com/b-p-cook

Western Gulls And Whispering Sand; Nature field recording, Big Sur, CA (2018)

****This piece is featured on http://soundcloud.com/incipitsify. Incipitsify is a British contemporary music channel. Check out the hand-written score here:
http://www.youtube.com/watch?v=WYs-tCQnpQs&feature=my_liked_videos&list=LLyGH7dDtyC_N44UqpVWIusA

*** "She Kicks a Star" was featured on Kinetics Radio station on September 30, 2012. KR is an internet-based broadcast from L.A. that features contemporary music by living composers. Please check out KR here:
 www.kineticsradio.com

** "She Kicks a Star" was featured on www.composerscircle.com on September 25, 2012. Check out the feature here:
http://composerscircle.com/jeremy-wexler/

Composed in the spring of 2012, "She Kicks a Star" is a setting of a poem entitled "The Moon" by Jack Kerouac. 
Thank you to my performers who played very well, to my mentor Du Yun, and to Nick Virzi who provided the mixing. 

Countertenor: Naseer "Cha Cha" Ashraf 
Electric Guitar: Nick Virzi [http://soundcloud.com/nickvirzi]
Bass Guitar [Doubles the Bass Marimba]: Devin Kumar
Percussion I: Raphael Lucas [http://soundcloud.com/raphaeltambor]
Percussion II: Lusha Anthony
Piano: Carl James Ackley [http://soundcloud.com/cjamesackley1]
Conductor: Michael Craig [http://soundcloud.com/michael-a-craig]

Text:
Jack Kerouac, "The Moon"

The moon her magic be, big sad face
Of infinity. An illuminated clay ball
Manifesting many gentlemanly remarks

She kicks a star, clouds foregather
In Scimitar shape, to round her
Cradle out, upsidedown any old time

You can also let the moon fool you
With imaginary orange-balls
Of blazing imaginary light in fright

As eyeballs, hurt & foregathered,
Wink to the wince of the seeing
Of a little sprightly otay

Which projects spikes of light
Out the round smooth blue balloon
Ball full of mountains and moons

Deep as the ocean, high as the moon,
Low as the lowliest river lagoon
Fish in the Tar and Pull in the Spar

Billy de Bud and Hanshan Emperor
And all wall moongazers since
Daniel Machree, Yeats see

Gaze at the moon ocean marking
the face -

In some cases
The moon is you

In any case
The moon.

She kicks a star; for countertenor, e. guitar, two percussionists, piano (Purchase New Music, 2012)

Self-oscillating noise generators are microtuned with digital resonators, then repeatedly layered with heavily filtered versions of itself.

Pareidolia (2020)

Choose your identity provider
2nd Prize, ASCAP/SEAMUS 2021 Commission Competition
Presented at NSEME 2021
Presented at NYCEMF 2021
Presented at the Spektrum Conference, Kraków, 2021

My piece is a stereo fixed media composition whose source material consists largely of foley/field recordings,synthesized sounds using my collection of software and hardware synthesizers,and samples harvested from various internet sources (like plugins and popular video streaming services) as well as a few obscure and forgotten vinyl records.I used a software that categorizes the audio samples within a corpus across a grid by timbre, enabling me to scan through the samples by clicking and dragging my mouse. I recorded these improvised sessions and intuitively time-stretched, spliced, transposed, organized, and layered these sounds to form much of the piece.  

The constantly shifting sonic landscapes coupled with the largely found-sound materials are a gentle reference to the title. I was inspired to sardonically adopt “Choose your identity provider” as the title of the piece when I observed it being used as a prompt one might see on a website that provides a service. For me, it inadvertently summarized the constant psychological battle we’re in with our technology which I fear is eroding our abilities to express ourselves, resolve interpersonal conflicts,and many other issues.

Choose your identity provider (2020)

[untitled study] for two synths and tape player (2020)

This is an incomplete excerpt of a piece that was not performed due to the COVID-19 pandemic. It is a home recording of the electronic portion of my piece and my own drumming without the ensemble.

Jeremy Wexler - Full Disclosure; for drummer, ensemble, and electronics (ECO, 2020)(Excerpt)

compositions, collaborations, soundscapes, field recordings, experiments, jam sessions

IG: [at]wheretheheckisjeremy
www.jeremywexler.com

Jeremy Wexler

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