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Although O'Riordan is well-known to select circles of contemporary classical music aficionados, he is a wonderful example of an American composer creating beautiful music that demands attention by a much wider audience. The performances on this album are excellent, particularly by Holly Roadfelt, who plays beautifully on every work, with exquisite sensitivity and attention to detail.The first work, Sonata rhapsodic, presents beautiful melodic lines that seem to develop and evolve organically, so as to perfectly encapsulate the rhapsodic idea behind the composition. The second movement is more aggressive, although still rhapsodic, and is the perfect counterpart to the flowing first movement. The ending of the second movement ties perfectly to the first, rounding out the form of the entire work.Water Lilies is not MacDowell's To a Water Lily by a long stretch, and is more about paying homage to Monet's Giverny, although it is equally beautiful. The pointillist style and wide-spanning intervals create a sense of starring up at stars, perhaps gazing up at flowery constellations.The other works on the album are equally engaging. Pressing Forward would be great addition to a flutist's recital. Through the lens of a beautiful composition, it explores the range of the full, expressive range of the instrument, while also taking advantage of articulation and dynamic contrast possible between both the flute and piano. Dying Light is also somewhat rhapsodic with soaring melodic lines. The final work on the album, Lacrimosa, is beautifully played by Roadfeldt, and is incredibly moving. I would love to hear this work re-orchestrated as a choral setting.All in all, this is an extraordinarily beautiful album, one that should be included in anyone's collection of contemporary American chamber music.