The Currents



Program Notes:

The Currents was commissioned by the American Pianists Association for its Classical Fellowship Awards. Piano was my first instrument and musical passion, so a solo piano commission for a competition initially intimidated me. I know the literature well—how deeply and imaginatively the instrument has been explored, how difficult it is to invent new ways to challenge the pianist. There is an idea that a piece written for a competition should do this, that it should invent new technical demands and showcase pyrotechnical dazzle. When I was younger, I wrote some piano music that consciously strove for virtuosity, but these days I’m more interested in getting at what is most peculiarly personal and in need of expression.

So when I was asked to write this piece, I decided my contribution would be something that challenged the pianist to be at their most expressive, poetic, and lyrical, something that would reward a sharp attention to detail and sensitivity to pacing and narrative. Of course, the fact that it was for a competition never fully left my mind, so the piece does require a formidable technique, but my hope is that The Currentsallows the performer to focus on storytelling as well—skills that, to my mind, are just as essential to becoming an unforgettable pianist.

The title of the piece, and the overall emotional impetus, was inspired by a larger cycle of poems, Unremembered, by poet Nathaniel Bellows, which I set a few years ago. The cycle is about memory, innocence, and the ways we cope with an unpredictable world. The line from which I drew the title reads “But like the hidden current/somewhere undersea/you caused the most upheaval on the other side of me.”

August 16, 2016

I Care If You Listen

“['The Currents'] effectively avoids indulging emotion, favoring subtle atmospheric suggestion, true to 19th century impressionism...The piece, however, is not without its surprises... At times tempestuous, at others placid, The Currents is a force of nature—both monsoon and mild breeze.”

Norman Cahn
May 7, 2016

Chicago Classical Review

"Many of the pieces Phillips chose were in what could be called a neo-Impressionist idiom. This was the case in The Currents (2012) by Sarah Kirkland Snider, where a wandering melody floats over a busy, circling left-hand accompaniment reminiscent of the opening of Ravel’s Sonatine. Phillips brought grace to this evocative texture and urgency to a more fraught central episode."

Tim Sawyer
April 15, 2016


“In entrancing the listener with the slow dazzle of its intertwining patterns, ['The Currents'] sets the mark high at the outset. There’s a lilting, Debussy-like flow to the material that does, in fact, suggest water movements, especially when the music fluctuates between the rapid motion visible at one stage in a river and the peaceful calm evident elsewhere…"

April 11, 2016

Second Inversion

"[The Currents] carries the same flowing lyricism and sensitivity as Snider’s vocal music—but without any of the words. Mizrahi’s fingers swim gracefully through the ebb and flow of the piece, beautifully capturing the depth and breadth of colors that make the currents come to life.”

Molly Molloy
March 26, 2016

Sequenza 21

"The title track [The Currents] a real standout. It adroitly covers a wide swath of both emotional and technical terrain. Thus, it is an ideal solo vehicle..."

Christian B. Carey
March 21, 2016


“The Currents” is very much a song-without-words, a distillation of the color and lyricism of [Snider's song cycles] into a melodic and idiomatic solo number.”

Daniel Stephen Johnson