Pianist Roberta Rust brings her own unique dynamism to the works of eight composers with whom she has had direct contact over the years. Dedicated to her late mother and step-daughter, this collection is as personal and touching as it is memorable for the broader audience. The album commences with Blues from George Rochbergs Carnival Music. This piece is true to its name in style and form with the riffs and improvisations to prove it. Michael Andersons Thirteen plus 4 and Sonata create a contemplative setting, where every tone cluster and arpeggio is connected to the next. Rust skillfully gives each phrase its own story. Rust shares three selections from Leo Brouwers Diez Bocetos. Moving from dark and mysterious to mischievous and experimental, the piece shows that after the darkness, light does emerge, leaving the listener on a hopeful plateau. In Ellen Taaffe Zwilichs Lament, Rust pays close attention to structure, truly capturing the traditional yet experimental compositional style for which Zwilich is known. In Almeida Prados Halley, all the forces of nature appear in this tonally-liberated work, likely influenced by the composers studies with Messiaen and Boulanger. It is a voyage into the uncharted, but the finish is demure. In Phillip Evans Suite 1945, the pianist graces us with a Sarabande and Aria. The composers affinity for Bartok is evident in this piano composition that spans a breadth of emotions. His exquisite Minuetto is nuanced and precious and Rust gives it the delicate delivery it deserves. Thomas L. McKinleys Fantasy Pieces for Piano demonstrates Rusts ability to portray more rustic, raw themes in her performances. Concluding the album are three selections from John Sharpleys Four Preludes. Rust thrills her listener with suspense, the latter party holding on in anticipation of her every note and phrase. The New York Times hailed Rust as a powerhouse of a pianistone who combines an almost frightening fervor and intensity with impeccable technique and spartan control.