Critic Don Clark’s insight into works on Woman at the New Piano:
“I was immediately immersed in the absorbing, colorful and animated sound world of Tom Flaherty’s “Airdancing” for Piano, Toy Piano and Electronics… Arresting, dramatic, exhilarating and sometimes briefly serene, “Airdancing” stretches the listener’s imagination and challenges the ear while being accessible and frankly smile producing enjoyable… Shpachenko makes a most convincing case for [Adam Schoenberg’s “Picture Etudes”] and we are unlikely to get such a definitive, affectionate recording soon. [Adam Schoenberg’s Bounce” is] danceable, fun, enjoyable and superbly executed… Peter Yates’ colorful… suite “Finger Songs” ably demonstrates Shpachenko’s range of technique. From sophisticated jazz in “Mood Swing,” misty landscapes in “Mysterious Dawn” and on to adolescent hijinks and light hearted fun with hints of Ragtime in “Gambol” and “All Better,” “Finger Songs” is an important addition to the contemporary piano literature, totally accessible, totally interesting and 100% fun to hear… The longest single movement in the program, James Matheson’s “Cretic Variations” takes us on a kaleidoscopic voyage from a single repeated high note through contrasting variations to an ambiguous quiet ending… Matheson stretches and teases this inherently simple phrase to create a powerful, lyrical and demanding set of variations. Another work that can, and should, become a staple of recitals and programs.”
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