Program Notes:

Disquiet began life as melodic fragments I would hum to myself on the subway while living in New York in the year 2000. In 2004-2005 those fragments evolved into my first piece for orchestra, written while I was a graduate student at Yale. In 2012, I revised and expanded the piece. The creative impetus for this music was, to speak broadly, the agitation of unspoken words, particularly when those words simmer and writhe beneath a self-imposed calm. In addition to its dramatic declarations, the music has moments of tenderness and whimsy; at one point even something of a drinking song makes its presence known. Ultimately, though, the piece is a meditation on the idea that even the most agitated restlessness can engender a certain serenity and gratitude.

The piece is about 14 minutes in one movement.  Disquiet is dedicated with love to my husband, Steven.

September 5, 2014

The New York Times

['Disquiet' is] "an innovative work..."

Phillip Lutz
May 15, 2012

The Philadelphia Inquirer

"[Strictly] from the evidence presented here...she's a potentially significant voice on the American music landscape. The idea of the piece is to explore the inner agitation beneath self-imposed composure — a promising prescription for harmonic layering that's successfully realized in any number of ways. Disquiet is framed by long-held string chords with pregnant two- and three-note motifs that germinate into events that consistently refuse to touch base with the usual emotional colors. Even a four-note trombone motif that might normally sound foreboding instead conveyed apprehension; it was followed by a shower of potentially ecstatic string pizzicato effects that instead conveyed a nuanced dose of anxiety."

David Patrick Stearns
May 15, 2012

Town Topics

“…lush, with many orchestral colors, and despite its title, [it begins] peacefully with almost imperceptible violins…Ms. Snider offered some unusual combinations of instruments in this piece… [which was] very audience-friendly because of its sonorities and the many different colors in the texture. ”

May 11, 2012

Sequenza 21

"[Snider is] a formidable composer…Rather than depicting “disquiet” primarily via its pitch or rhythmic language, creating abundant dissonances or angularity, Snider takes another approach: uneasiness is primarily delineated by the work’s formal design. Thus, one may at first be surprised to hear its often lush harmonies and strong melodic thrust. But as Disquiet unfolds, a labyrinth of disparate gestures and contrasting sections, often supplied in quick succession, imparts the title’s requisite restive sensibility."

Christian B. Carey
April 8, 2005

Yale Daily News

“…Snider’s emotional immediacy and sense of narrative were arresting…”