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James Holt
Second Inversion, July 2015

I recently rediscovered one of my (now) favorite piano pieces. Stainless Staining by Donnacha Dennehy is the kind of piece that I can just put on repeat and let its relentless, perpetual, rhythmic drive push and pull me through my day, as it becomes a kind of soundtrack to my waking life. …jaw-dropping…release from Lisa Moore… © 2015 Second Inversion Read complete review

Andrew Lee
I Care If You Listen, February 2013

One of the most compelling elements of Stainless Staining is the fantastic pairing of pianist Lisa Moore and composer Donnacha Dennehy. Moore[’s]…performance on this CD is breathtaking. Her energy, virtuosity, and exquisite musicality is perfectly suited to the Dennehy’s music.

Both pieces are extremely effective and beautifully played. You cannot ask for more. © 2013 I Care If You Listen Read complete review

Donald Rosenberg
Gramophone, November 2012

Stainless Staining…seizes the ear…Dennehey creates sonorities at once glistening and hypnotic.

In Reservoir…[e]very moment is suffused with delicate or dramatic propulsion, reflecting the urgency of the aquatic imagery. Lisa Moore…plays both works with mesmerising command of Dennehy’s simmering soundscapes and finely graded dynamic palette. © 2012 GramophoneRead complete review on Gramophone

Stephen Eddins, August 2012

The title track is scored for piano and pre-recorded samples of piano played conventionally and inside the instrument, and its premise is the rhythmically pulsing, gradual accumulation of overtones based on a single pitch. Ultimately over 100 overtones are in play, creating densely chromatic, micro-tonal textures. Its steady beat and harmonic stasis make it reminiscent of some strains of American minimalism of the last third of the 20th century, but that doesn’t detract from its energetic immediacy. The second track, Reservoir, is scored for solo piano, and was inspired by a video by Bill Viola of a man being slowly submerged in water. It’s a lovely, evocative Impressionist/post-minimalist piece that’s suggestive of aqueous landscapes. Moore is a persuasive, poetic interpreter of Dennehy’s appealing music, and this attractive CD should be of strong interest to fans of new music, especially new music for piano. © 2012 Read complete review

Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, August 2012

The EP Stainless Staining…brings back the pulsation in ways that appeal to me. Lisa Moore is the pianist here, playing the music of Donnacha Dennehy. There are two pieces on the 24 minute disk. “RESERVOIR for Piano” forms a rather attractive postlude to the main event, which is the title track.

“Stainless Staining” uses a “soundtrack” of samples of low G# retuned to accentuate 100 overtones derived from that fundamental. The samples involve playing inside and outside the piano. The result is a pulsating mass of piano sound, atop which Lisa Moore plays her “live” part.

In the end it is 15 minutes of very rhythmic, patterned, richly overtoned music. Lisa Moore plays her role perfectly and the music buzzes and swings its way through your head with irresistible drive and elan.

It’s a disk that will be finding its way onto my player many times in the future I am sure. In its own way it has a perfection. It is a kind of heaven! © 2012 Gapplegate Classical-Modern Music Review Read complete review

Hannis Brown
WQXR (New York), July 2012

Each EP has approached the piano in a wildly different fashion, offering Moore the opportunity to display every angle of her versatile chops.

The title track, written specifically for Moore, pairs solo piano with a soundtrack of recorded and (sometimes) manipulated samples taken from a piano retuned so that it produces 100 overtones based on a low G# fundamental (the struck pitch). A seamless, propulsive blend of (wo)man and machine, the piece reflects Dennehy’s newfound fascination with the rhythmic pulsing of the overtone series.

…the music on “Stainless Staining” constitutes an accessible and compelling EP. Packed with subtleties that become increasingly apparent with each repeated listen, it’s a fitting and memorable close to a trilogy that illuminates the multidimensional virtuosity of Moore’s playing. © 2012 WQXR (New York) Read complete review

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