摘要：Kent Kennan, Russell Reipe [sic], David Ashley White, Kathryn Mishell, Wayne Oquin, Dan Welcher. Timothy Woolsey, piano. Centaur Records (CRC 2525), 2001. Although this CD is without title (it just lists the composer names on the CD cover), it is an excellent collection of contemporary piano music by Texas composers. All the works on the album are performed by Timothy Woolsey, who is professor of piano at Southwest Texas State University and whose career has been increasingly active, nationally as well as internationally. His performances are characterized by their clarity, balance, and solid tone. This CD offers 64 minutes of music that borders on atonality with several different approaches to harmonic color. Therefore, I found this record most enjoyable. The CD serves as a good introduction to the composers’ individual styles. The Austin composer Kent Kennan (born 1913) is represented by the work Retrospectives. It is an eclectic collection of twelve pieces, written between 1938 and 1951, that have been revised and 'linked' together through melodic motives. These pieces vary greatly in energy level and mood, yet fit together naturally. Retrospectives alone makes this album worth listening to. The Philosopher’s Path was specifically composed for Timothy Woolsey by Russell Riepe (born 1945). Riepe, who is professor of composition at Southwest Texas State University and also well known for founding the Texas Mysterium for Modern Music, composed this piece in 1991. Its continuous three movements are very colorful and filled with imagery. It is relatively abstract, but the liner notes help to clarify the meaning of the work. The first movement, “Rock Garden,” is based on the dialogue between two philosophers, as they debate the relationship between a 700 year old rock garden in Kyoto and the universe. The thrilling second movement, “The Way of the Warrior,” requires the pianist to use the 'inner piece' of the piano (soundboard and strings) to illustrate the story of Samurai master Shoju Ronin, who was challenged to a match. In combat, the master is able to defeat his challengers, using a fan rather than a sword. Barrages of string and soundboard sounds are used to create the stunning effects. Although this excellent composition received a clear and flawless performance by pianist Timothy Woolsey, unfortunately a recording production decision seems to break the continuity of this album. Following this piece, there is an excessive 13 seconds of silence
