Brian Current’smusic is beautiful and interesting.


The beauty partis the sound forms that are immediately recognizeable as pleasing.

You listen andyou relax into a state of pleasure. His passages seem, in the words of Keats,“almost a recollection,”

 as if you were already familiar withthem. But you are not. That’s the interesting part.


Current’s musichas the quality of good  improvisedjazz, an ongoing sense of variety in the presentation of the familiar:

novel timbres,orchestration, and above all, novel tempos—the ‘slanted time’ that has been hissignature.


Interesting issynonymous with exciting. Current’s music is a fine blend of intensities risingfrom naturally pleasing,

like birdsong,bells, whistles and waves, to stronger sonorities that vibrate the nervestowards a zone of protest, like jalapeno does.

The title piecegoes furthest in that direction.


“For the TimeBeing” performed by the CBC Symphony under Bramwell Tovey is just gorgeous.

“Concertino forFlutes and String Orchestra” features virtuoso Robert Aitken.” Composer EvanWare eloquently notes how the

 “…tangible, diaphonous…music flows inand out of time, sweetened by honeyed anachronisms.”


“Kazabauza”,premiered last year in Toronto by Alex Pauk’s Esprit Orchestra, and theprevious year’s signature composition “Symphonies in Slanted Time”,

also record herewith Esprit Orchestra, have a kind of built-in fading wave structure thatmodulates between the beautiful and the interesting.


Highlyrecommended listening.