Water Remembers I:
An audiovisual series pairing canonical classical works with newly composed reflections by multi-instrumentalist, composer, producer, filmmaker, and interdisciplinary artist Katie Mosehauer.
The Current Carries
Project Overview
Water Remembers is a four-part audiovisual series pairing canonical classical works with newly composed reflections. Each volume presents a musical diptych: a work from the classical repertoire alongside a contemporary response that explores its themes through the lens of the present day. Together, they form a series of musical conversations that place historical works in dialogue with the political and social realities of the present moment.
Beginning with questions of progress, participation, and collective action, the four volumes gradually move toward more unsettling territory. As the project unfolds, familiar systems cease to function as expected, the world we thought we inhabited begins to feel less certain, and violence emerges from beneath the surfaces that once concealed it. Throughout, Water Remembers asks how perception shapes understanding—and what becomes visible when we learn to look again.
Created by Katie Mosehauer, The Current Carries is the first chapter in an ongoing exploration of memory, history, and the currents that connect past and present. Learn more about The Current Carries here.
Water Remembers Release Schedule
Water Remembers I: The Current Carries
Coming July 2026
Franz Liszt: Consolations, S. 172 – No. 3 in D-flat Major, III. Lento placido
Converging Tides (after Liszt)
Water Remembers II: What Doesn’t Hold
Coming August 2026
Christoph Willibald Gluck: Orfeo ed Euridice – Act II: Dance of the Blessed Spirits (arr. Kreisler)
The Rill Wavers (after Gluck, arr. Kreisler)
Water Remembers III: Slipping Under
Coming September 2026
George Frideric Handel: Violin Sonata in D Major, HWV 371 – III. Larghetto
The Tether Slacks (after Handel)
Water Remembers IV: What Lies Beneath
Coming October 2026
Giuseppe Tartini: Violin Sonata in G minor, GT 2.g10 – II. Presto
Midnight Fathoms (after Tartini)
New Release
Water Remembers: The Current Carries
For release July XX, 2026
Tracks
Composed by Katie Mosehauer
Sound design by Katie Mosehauer
Harp, violin, viola, synthesizers performed and recorded by Katie Mosehauer
Mixed by Katie Mosehauer and Pierre Ferguson
Mastered by Pierre Ferguson
Arranged for harp and violin by Katie Mosehauer
Harp and violin performed and recorded by Katie Mosehauer
Mixed by Katie Mosehauer and Pierre Ferguson
Mastered by Pierre Ferguson
Artist Statement
Water Remembers began as an attempt to understand what remains when the stories we rely on no longer hold.
The project approaches classical works not as monuments to be preserved but as companions in conversation with the present. By pairing canonical works with newly composed reflections, it explores what remains when inherited stories meet contemporary experience, and how meaning changes when we listen from another vantage point.
For more than a decade, I worked in criminal justice reform and social justice advocacy alongside my music career, helping advance efforts to reduce incarceration, expand alternatives to detention, and build more equitable systems of justice.
Again and again, I encountered the same tension—from a distance, progress often appears inevitable; up close, every moment of change reveals itself to be fragile, contingent, and always vulnerable to reversal.
Pull quote
The first volume of Water Remembers, The Current Carries, begins with Franz Liszt's Consolation No. 3, a work inspired by poetry that sought comfort after the loss of faith. I was drawn to the piece because it allowed me to explore my own sense of grief—not only around specific setbacks, but around the loss of a larger belief that history naturally bends toward justice.
The companion piece in the musical diptych, Converging Tides (after Liszt), grew from that bereavement. This expansive re-composition counters the idea of progress as a single current moving inevitably forward and instead imagines change as the convergence of countless lives, efforts, and sacrifice. What appears from a distance to be one current is, in reality, the meeting of many. It asks whether faith remains possible in a time marked by democratic backsliding, rising authoritarianism, and deep uncertainty about the future.
If there is consolation to be found, it lies not in inevitability, but in participation.