The different music on composer-pianist Timo Andres’ Home Stretch — a rhythmically modern piece for piano and chamber orchestra, a reimagination of Mozart’s Coronation concerto, and a “paraphrase” of themes written by an experimental, ambient musician — is an adventure in time, in terms of tempo and stylistic history. Andres’ title piece, written while a student at Yale, is an exercise in rhythmic balance, the pace of the piano and various sections of the Metropolis Ensemble working together in polyrhythms like a jazz drummer, filling the spaces between each other’s phrases in statement-and-comment style. Harmonies fall together or fall apart, and the overall effect is one of calm control. Andres’ “recomposition” of the Mozart concerto is a surprising clash of past and present. The pianist fills in cadenzas with harmonic friction and interspersed exclamations that seem at odds with Mozart’s original intent. “Paraphrase on Themes of Brian Eno,” with Conor Hanick on piano, starts with wobbling strings and steel-drum echoes, offering sustained and even moods that slide one to another on ascending strings or edgy repeated notes. Any sense of discomfort dissolves as the horns and flute bring in something of a pop ballad. Then it, too, dissolves into another, grander theme. The piece, like much of Home Stretch, is too warm, too comfortable, in need of some contemporary tension.