Solo Concert Programs

//Solo Concert Programs
Solo Concert Programs 2018-09-14T05:48:58+00:00

Lisa Moore performs highly entertaining, dramatic, virtuosic, thematic, classical and contemporary solo piano programs – ideally suited for concert halls, museums, festivals, and clubs. Many concerts include media (projections, electronics, amplification) and the use of voice – speaking text and vocalizing theatrics – while playing piano.

All programs are open designs – flexible in repertoire content.
Please visit the sample shows below for details and contact Lisa Moore.

The New York Times writes ‘Lisa Moore, an Australian pianist long based in and around New York, has always been a natural, compelling storyteller’, TimeOut New York describes her as ‘the wonderfully lyrical pianist’ and The New Yorker refers to her as ‘New York’s queen of avant-garde piano’. Lisa has ten solo discs (Cantaloupe, Orange Mountain Music, IGM, Bandcamp, Tall Poppies) ranging from Leoš Janáçek to Philip Glass.

For bookings please contact Lisa Moore

“The audience took a moment to let it sink in before giving Moore a sustained, hearty ovation.”
“The fiercely poised pianist”
Corinna da Fonseca-Wollheim, The New York Times
“The New York-based Australian pianist Lisa Moore is a tightrope-walker, a daredevil. She’s the best kind of contemporary classical musician, one so fearsomely game that she inspires composers to offer her their most wildly unplayable ideas. She can play them all.”
Jayson Greene, Pitchfork
“The wonderfully lyrical pianist”

Mad Rush (1979)

Piano Etudes no.5, 7 and 9

Metamorphosis 1-5 (1988)

Satyagraha Act III Conclusion (1980)

arr. Michael Riesman

Closing (1991)

arr. Lisa Moore

Piano Etude no. 2 (1994)

(Duration: 65 minutes)

Music by Philip Glass from Lisa Moore’s 2015 Mad Rush CD (Orange Mountain Music) presenting music with roots in motion pictures, opera, Ghandi, and Buddhism. Mad Rush was written for the Dalai Lama’s dramatic 1981 entrance into St. John the Divine Cathedral, NYC. Metamorphosis I was composed for The Thin Blue Line – a 1988 Errol Morris documentary about Randall Dale Adams who was wrongfully convicted of murdering a police officer and sentenced to death. Metamorphosis II was featured in The Hours – a film based on Virginia Woolf. Satyagraha Act III Conclusion is a 7 minute piano arrangement of the opera’s final scene. “Satyagraha” is Sanskrit for “truth force”. Satyagraha deals with Gandhi’s early years in South Africa and his development of non-violent protest. “Closing” is a solo arrangement of the Music in Twelve Parts finale. Etude no. 2 completes the concert, building rich resonance over a lilting 7/8 – 4/4 rhythm.

Press

“The memory of Moore’s lucid, luminous performance are all I have left to spin into this tale. This performance needs no aid in finding embedding itself into my memory. I’ve heard some dismiss Glass’ work for its overt simplicity, and piano it would seem to reduce further its already minimal content. But Moore’s playing shaded each repeated scale fragment and every basso thump to rang out among the Old Masters in the Toledo Museum of Art’s Great Gallery” — David Dupont, I Care If You Listen

“This album of piano works by Philip Glass has more life and freshness than the composer’s own recordings, themselves still vital. When “Mad Rush” begins to teem, Ms. Moore’s playing seems to escape the shackles of Glass’s processes. In the shifting chords of “Closing,” lines sing as if in Baroque counterpoint, with a fragility and tenderness that recalls Strauss. The five tableaux of “Metamorphosis,” and an arrangement of the end of “Satyagraha,” are scarcely less diaphanous.” — David Allen, The New York Times June ‘15

“the stone people who live in the wind”

TukiliitJohn Luther Adams

Among Red MountainsJohn Luther Adams

NunataksJohn Luther Adams

Sliabh BeaghKate Moore

EarringJulia Wolfe

CompassionJulia Wolfe

OrizzonteMissy Mazzoli

Ishi’s SongMartin Bresnick

(Duration: 80 minutes)

Music from Lisa’s latest CD The Stone People (Cantaloupe)

This recording takes its name from a piece by John Luther Adams. His Tukiliit is subtitled “the stone people who live in the wind,” and Lisa’s decision to focus on Tukiliit became the organizing principle for the rest of this recording. John’s music is ruggedly elemental, using very restrained materials as a way of probing some of our most fundamental human truths. Who we are. Where we are. How we relate to each other. How we relate to the natural world. His pieces are stark explorations of humankind in its most elemental state, and this CD brings together, for the first time, his complete acoustic music for solo piano. The composers on this recording all share these concerns because they are all composer-explorers. Martin Bresnick’s reliquary for a song sung by Ishi, the last surviving member of a Native American tribe, who died without telling anyone what the words meant. Julia Wolfe’s commitment to an elemental human value. Kate Moore’s exploration of her Irish-Australian heritage. Missy Mazzoli’s pursuit of the unattainable horizon. The mysteries echo down through the ages. Who we are. Where we are. How we relate to each other. How we relate to the natural world. – David Lang

Press

“Ms. Moore offered a beautiful performance of Mr. Bresnick’s piece, with the meditative lucidity that is the hallmark of her playing. Perhaps coincidentally, the work illuminates seemly irreconcilable opposites, with alternating major and minor versions of the same chord. Repetitive fragments build up tension until the music abruptly gives way to conciliation. It’s the major mode that wins in the end, but quietly, without triumph” — Corinna da Fonseca-Wollheim, The New York Times May 2015

Mad Rush (1979)

Metamorphosis 1 (1988)

Metamorphosis 2 (1988)

Metamorphosis 4 (1988)

Satyagraha Act III Conclusion (1980)

Closing (1991)

Etude no. 2 (1994) Philip Glass

intermission

For The Sexes: The Gates of Paradise (2001) Martin Bresnick
Text and original imagery by William Blake (1757-1827)
Visual animation by Puppetsweat Theater

(Duration: 90 minutes)

A concert of expansive piano music with a narrative beyond the purely abstract – composed by Philip Glass and Martin Bresnick. (Includes text and DVD projection. Suitable for art galleries and museums).

This concert presents music with roots in motion pictures, opera, Ghandi, Buddhism and William Blake. The opening Mad Rush was written for the Dalai Lama’s dramatic 1981 entrance into St. John the Divine Cathedral, NYC. Metamorphosis I was composed for The Thin Blue Line – a 1988 Errol Morris documentary about Randall Dale Adams who was wrongfully convicted of murdering a police officer and sentenced to death. Metamorphosis II was featured in The Hours – a film based on Virginia Woolf. Satyagraha Act III Conclusion is a 7 minute piano arrangement of the opera’s final scene. “Satyagraha” is Sanskrit for “truth force”. Satyagraha deals with Gandhi’s early years in South Africa and his development of non-violent protest. “Closing” is an arrangement of the larger Music in Twelve Parts finale. The first half closes with Etude no. 2, building rich resonance over a lilting 7/8 – 4/4 rhythm.

Ishi’s Song by Martin Bresnick

Bringing Roses With Her Words by Jerome Kitzke

Little Room by William Gardiner

Sliabh Beagh by Kate Moore

Equality and Prayer by Brett Dean (text: Michael Leunig)

De Profundis by Frederic Rzewski (text: Oscar Wilde)

I Think It’s Going To Rain Today
by Randy Newman

(Duration: 90 minutes)

An intimate, personal and poignant concert of music for piano and voice.

Press

‘She followed with Randy Newman’s “I Think It’s Going to Rain Today” as an encore without leaving the stage. It was a suitable, gracious way to end one of the finest programs I’ve attended this year. The audience took a moment to let it sink in before giving Moore a sustained, hearty ovation.’ — A Beast In A Jungle July ‘14 Center for New Music San Francisco

August 2018: “From Me To You”  in Extended Play @ City Recital Hall  Murray Black writes: “Lisa Moore’s impressive five-part set – the highlight was her compelling performance of Frederic Rzewski’s De Profundis in which Moore sobbed, sighed and spoke from Oscar Wilde’s text while playing the difficult piano part” (The Australian Aug 28, 2018)

Exiles

Exiles is a performance-art concert (and ongoing commissioning project) presenting dramatic works for a solo pianist who plays, speaks, and sings.
The subject is roots, and within that: distance, estrangement, immigration, travel, place, and change. The focal point is De Profundis – a 30 minute dramatic oratorio with music composed and text adapted by Frederic Rzewski from original text by Irish writer Oscar Wilde (excerpted from his 1895 letter “De Profundis” written in Reading Goal while prisoned for homosexual acts). This powerful piano tome is composed for a speaking, whistling, singing, percussive, and emoting pianist.
The concert also features the devastatingly beautiful Ishi’s Song by Martin Bresnick (about the last Yahi Native American) as well as moving, recently commissioned works by Irish-Australian composers – Kate Moore, Erik Griswold, and William Gardiner (the latter with text adapted by Lisa Moore, drawn from poems, novels, diaries and letters). Ambient sound designed by the Australian composer William Gardiner envelops the space between works.

Little Room* — William Gardiner
Sliabh Beagh* — Kate Moore
Danny Boy adrift in the rising tide  – Erik Griswold
Ishi’s Song – Martin Bresnick
De Profundis – Frederic Rzewski (text Oscar Wilde)

* commissioned by Lisa Moore with funding from the Australia Council

PRESS:

“Moore returned onstage a changed person-outfitted in black, her hair loose, and wearing a lapel microphone to unleash an astonishing performance of Frederic Rzewski’s ‘De Profundis’ for speaking pianist…..Moore’s considerable music theatre skills…..what impressed in all these pieces plus a set of etudes and preludes of Scriabin was Moore’s involved approach and the superb clarity of her playing.”
The Australian (for ‘Wilde’s World’ Adelaide Festival 2000)

Lisa’s playing (and singing) here is, as always, supremely musical and controlled and full of intent, and the piece, like all of Martin’s music, is profound, surprising, and rewarding to delve into. The Ishi of the title was the last of his people–the Yahi Indians–and the piece is based on transcription of a traditional song he recorded after being taken in by anthropologists at the University of California, Berkeley (his story is definitely worth reading). I’ve heard Lisa play (and Martin introduce) Ishi’s Song live a number of times now, and each performance feels like a brief glimpse into a lost world. The original melody is sung and then braided into shimmering, shifting textures, creating a mirage-like sensation, like being on the edge of seeing or grasping something that ultimately remains elusive. (Eileen Mack, New Music USA)

“Lisa Moore‘s concert last Sunday afternoon at The Center for New Music drew a standing room only crowd, and those in the audience were treated to an exceptionally well-conceived and performed program of music by living composers…. a large part of her repertoire are pieces for written for piano and voice, which are altogether different from lieder or art songs as the pianist and vocalist are the same. It’s a tricky feat, and one I’ve never seen performed live by a classical pianist, at least like this….De Profundis is a twenty-five minute excursion through the anguish and brilliance of Oscar Wilde’s famous 1895 letter written during his imprisonment for homosexuality. Rzewski’s music captures something fundamental in Wilde’s words, and Moore did both proud, turning in an exhilarating performance, full of fleeting moments instead of approaching it like an epic. When it was over it felt like only a few minutes had passed, and the audience took a moment to let it sink in before giving Moore a sustained, hearty ovation….She followed with Randy Newman’s “I Think It’s Going to Rain Today” as an encore without leaving the stage. It was a suitable, gracious way to end one of the finest programs I’ve attended this year.”
by John Marcher
A Beast in a Jungle
July 2014

“On her most recent album, “The Stone People,” the pianist Lisa Moore sings and plays Martin Bresnick’s hypnotic “Ishi’s Song,” a setting of a chant by the last member of the Yahi, who died in 1916.”
Corinna da Fonseca-Wollheim, The New York Times,
April 3, 2016

(Duration: 75 minutes)

A new speaking, singing pianist dramatic oratorio, a music-theatre piece about Irish-Australian roots, travel, immigration, place and change. Text adapted by Lisa Moore from poems, novels, diaries and letters. Ambient sound by William Gardiner. Music includes new works by selected Australian composers with Irish heritage.

De La Chica: Preludes Op.8

The beautiful, meditative Preludes by Columbian composer Julián de la Chica from her recent CD release for piano and synthesizer

Irreverence Group Music

Prelude no.13 https://www.youtube.com/watch?v=EGWRFBkeYYI

Performance Schedule

Sonata in Eb Hob.52 Joseph Haydn

Sonata Opus 31 no.3 “The Hunt” (1802) Beethoven

Sonata Opus 54 (1804) Beethoven

intermission

De Profundis for speaking pianist (1991) Frederic Rzewski (text: Oscar Wilde)

(Duration: 90 minutes)

A guest in the complete Beethoven piano sonata cycle at the 2017 Canberra International Music Festival Moore presents three master composers for piano in dramatic contrast – Haydn, Beethoven and Rzewski. One Haydn sonata, two Beethoven sonatas and Rzewski’s De Profundis – a dramatic melodrama composed for speaking pianist reciting text by Oscar Wilde – his last work of prose, written while imprisoned in Reading Goal (1897) and set by American composer Frederic Rzewski in 1991 and available on Moore’s Cantaloupe Music CD.

Press

‘Lisa Moore being a woman, her recitation moves Wilde’s words into a slightly more abstract realm than that of Rweski’s…LM’s performance is more lyrical overall…I quickly became fond of Moore’s De Profundis. LM’s performances embrace the written-improvisatory feel of these pieces, though she is more introspective…This is a very enjoyable disc of important repertoire; highly recommended’ — Fanfare Magazine

The complete dramatic piano works by the Moravian Czech master composer Leoš Janàček

In The Mist  (1912)

From The Street, Sonata 1.X 1905

On an Overgrown Path (series I & II) (1901-11)

(Duration: 70 minutes)

Works by Leos Janacek from Lisa Moore’s Tall Poppies CD

Press

‘Among my favourite recordings Moore’s Janacek disc sits very easily in their company, indeed it combines the best of approaches, there is a greater rhythmic tension and the piano sound is rich and natural.’ — Andrew Ford, ABC Radio 24 Hours Magazine

Performance Schedule

Etude Op.2 no.1 (1887)

Prelude Op.11 no.5 (1896)

Prelude Op.27 no.2 (1900)

Prelude Op.33 no.3 (1903)

Prelude Op.48 no.2 (1905)

Prelude Op.51 no.2 (1906)

Prelude Op.74 no.3 (1914) Alexander Scriabin

Sonata – From the Street 1.x.1905 Leos Janacek

Six Dances in Bulgarian Rhythm (1926-1939) Bela Bartok

Satyagraha – Conclusion, Act 3 (1980)Philip Glass

Ishi’s Song (2012) Martin Bresnick

Piano Piece no. 4 (1977) Frederic Rzewski

(Duration: 60 minutes)

Music spanning 120 years of flowing piano music, tinged with “eastern” influences or written by composers with eastern European roots.

Press

“I prefer her interpretation of the Scriabin pieces, all miniatures, where her ability to pounce on the harmonic skeleton and manipulate its melodic muscle makes perfect musical sense. They are all clearly and convincingly projected, passionately powerful” — RealTime Adelaide Festival 2000 Adelaide Town Hall

A dramatic evening of theatrics and music for a speaking, acting, singing pianist – featuring the texts of William Blake and Oscar Wilde

For The Sexes: The Gates of Paradise by Martin Bresnick – text and (projected) etched images by William Blake (from The Disasters of War) length 31′

De Profundis by Frederic Rzewski – text by Oscar Wilde (excerpted from his 1895 letter written in prison to Lord Alfred Douglas) length 29′

Program length 60′
Tech: screen, blackout, projections, PA/mic

Press

‘More profound artistically was Martin Bresnick’s touchingly eloquent For The Sexes: The Gates of Paradise. Integral to this piece are the projections behind the piano of 17 of Blake’s engravings, which have been subtly manipulated and sequences by video artist Leslie Weinberg.’ — The Australian July 2001

“Moore returned onstage a changed person-outfitted in black, her hair loose, and wearing a lapel microphone to unleash an astonishing performance of Frederic Rzewski’s ‘De Profundis’ for speaking pianist…..Moore’s considerable music theatre skills…..what impressed in all these pieces plus a set of etudes and preludes of Scriabin was Moore’s involved approach and the superb clarity of her playing.”
The Australian (for ‘Wilde’s World’ Adelaide Festival 2000)

“Lisa Moore‘s concert last Sunday afternoon at The Center for New Music drew a standing room only crowd, and those in the audience were treated to an exceptionally well-conceived and performed program of music by living composers…. a large part of her repertoire are pieces for written for piano and voice, which are altogether different from lieder or art songs as the pianist and vocalist are the same. It’s a tricky feat, and one I’ve never seen performed live by a classical pianist, at least like this….De Profundis is a twenty-five minute excursion through the anguish and brilliance of Oscar Wilde’s famous 1895 letter written during his imprisonment for homosexuality. Rzewski’s music captures something fundamental in Wilde’s words, and Moore did both proud, turning in an exhilarating performance, full of fleeting moments instead of approaching it like an epic. When it was over it felt like only a few minutes had passed, and the audience took a moment to let it sink in before giving Moore a sustained, hearty ovation….She followed with Randy Newman’s “I Think It’s Going to Rain Today” as an encore without leaving the stage. It was a suitable, gracious way to end one of the finest programs I’ve attended this year.”
by John Marcher
A Beast in a Jungle
July 2014

Earring Julia Wolfe

Compassion Julia Wolfe

Six Etudes and a Dream Hannah Lash

my lips from speaking Julia Wolfe

yeah, yeah, yeah Lois V Vierk

Sensitive Spot Kate Moore

Sliabh Beagh Kate Moore

Julia Bunita Marcus

Orizzonte Missy Mazzoli

Music with an intimate touch – highlighting who we are, what we do and how we feel.

Press

“It’s with the six pianos of my lips from speaking (here remarkably performed by Lisa Moore) that Wolfe really pushes things over the edge.” — New Music Box

Sonata 1.x.1905 Leos Janàček
Orizzonte Missy Mazzoli
Aus der Tiefen Paul Grabowsky
Ishi’s Song Martin Bresnick

intermission

Prelude and Fugue, B minor Bk 1 J.S. Bach
Sliabh Beagh Kate Moore
Etude no. 2 Philip Glass
Piano Piece no. 4 Frederic Rzewski

(Duration: 75 minutes)

A rich selection of dramatic music for the “piano/forte”

Performance Schedule

Reflets dans l’eauClaude Debussy

Waldscenen Robert Schumann

intermission

Pictures at an Exhibition Modeste Mussorsky

(Duration: 75 minutes)

Ideal for art galleries and museums – music inspired by visual imagery.

Press

‘Dispensing with fireworks in five selections from Schumann’s Waldszenen, Ms. Moore phrased with a breathlike lyricism in the introduction and finale; between those points she showed her capacity for illuminating character, most vividly in a haughty, preening Vogel als Prophet….’ — Steve Smith, The New York Times April 2011

Performance Schedule

Piano Etudes (six etudes from Bk 1 & 2) Gyorgy Ligeti

Musica Ricercate Gyorgy Ligeti

intermission

For the Sexes: The Gates of Paradise Martin Bresnick

(Duration: 90 minutes)

This concert opens with a collection of some of Gyorgy Ligeti’s finest works for piano, followed by American composer Martin Bresnick’s setting of William Blake’s engravings and text with video by Leslie Weinberg.

Press

‘More profound artistically was Martin Bresnick’s touchingly eloquent For The Sexes: The Gates of Paradise. Integral to this piece are the projections behind the piano of 17 of Blake’s engravings, which have been subtly manipulated and sequences by video artist Leslie Weinberg.’ — The Australian July 2001

‘Lisa Moore, an Australian pianist long based in and around New York, has always been a natural, compelling storyteller. Ms. Moore’s steely virtuosity and bold imagination showed equally during commanding accounts of three movements from Gyorgy Ligeti’s Musica Ricercata, followed by three selections from his first book of Études.’ — Steve Smith, New York Times April 2011 link

Performance Schedule

Piano Etudes Bk 2 nos 7-12 Claude Debussy

Piano Etudes Op. 18 Bela Bartok

Piano Etudes (selections Bk 1 & 2) Gyorgy Ligeti

Seven Etudes Hannah Lash

Seven Etudes Don Byron

Etudes (selected) Philip Glass

(Duration: 75 minutes)

A concert of traditional and new virtuosic piano etudes.

Press

‘One of her signature pieces, Don Byron’s Seven Etudes, puts the pianist through a theater-of-pain demonstration in arrhythmia: pounding out one rhythm with her hands, she sings a series of “la-la-las” completely at odds with the piano. It’s a gripping demonstration.’ — Jayson Greene, Pitchfork Feb 28, 2012

‘Lisa Moore, an Australian pianist long based in and around New York, has always been a natural, compelling storyteller. Ms. Moore’s steely virtuosity and bold imagination showed equally during commanding accounts of three movements from Gyorgy Ligeti’s Musica Ricercata, followed by three selections from his first book of Études.’ — Steve Smith, New York Times April 2011

Performance Schedule

Among Red Mountains John Luther Adams

On Noble Pond Chris Rogerson

Sliabh Beagh Kate Moore

Three Movements for Piano Stephen Cabell

(Murmuration, Night Music, Everest)

(Duration: 75 minutes)

New piano music influenced by our vast and beautiful natural landscape

Press

‘The young crowd listened in total, loud silence. Good thing, too, as Lisa Moore’s lucid, committed pianism made the best of four works, each dealing with an aspect of landscape or nature’ — Dave Allen, The New York Times June 2015 DiMenna Centre, NYC Kettlecorn New Music

Performance Schedule

Sonata in Eb Hob.52 Joseph Haydn

Waldscenen Robert Schumann

In The Mist Leos Janacek

intermission

Pictures at an Exhibition Modeste Mussorgsky

(Duration: 90 minutes)

Press

‘Dispensing with fireworks in five selections from Schumann’s Waldszenen, Ms. Moore phrased with a breathlike lyricism in the introduction and finale; between those points she showed her capacity for illuminating character, most vividly in a haughty, preening Vogel als Prophet.’ — Steve Smith, The New York Times April 2011

Performance Schedule

Orizzonte Missy Mazzoli

Wed David Lang

Mad Rush Philip Glass

Willie’s Way Martin Bresnick

intermission

Authentic Presence Ingram Marshall

American Berserk John Adams

Second Childhood John Halle

Earring Julia Wolfe

Piano Counterpoint Steve Reich

(Duration: 90 minutes)

Vital, modern American music.

Press

‘Last Saturday the All-Stars’ sensational and sensitive pianist Lisa Moore offered the Janacek Sonata; etudes by Ligeti; Rzewski’s ”Winnsboro Cotton Mill Blues”; Martin Bresnick’s ”The Dream of the Lost Traveller”; and ”Wed,” by one of Bang on a Can’s cofounders, composer David Lang, a lovely, quiet, shimmering piece that is part lullaby, part requiem. Moore herself wore Levis accented by gold lame pumps.’ — Richard Dyer, Boston Globe

Prayer and Equality Brett Dean (text Michael Leunig)

Last Song Meredith Monk (text Meredith Monk)

Zebulon Rufus Wainwright (text Rufus Wainright)

Stur in Dur (Stuck in Major) Elena Kats-Chernin

By This River (arr. Moore) Brian Eno

Ishi’s Song Martin Bresnick

I Think It’s Gonna Rain Randy Newman

(Duration: 70 minutes)

A witty program of music with text featuring classics such as Brett Dean’’s startling Equality, Russian-Australian Elena Kats-Chernin’s cheeky Stur in Dur, Brian Eno’s reflective By This River and a Randy Newman timeless ballad.

Performance Schedule

Lotus Land and Pierrot Triste Cyril Scott

Pour le Piano Claude Debussy

Etudes and Preludes Alexander Scriabin

intermission

De Profundis Frederic Rzewski

(Duration: 70 minutes)

“to love oneself is the beginning of a life long romance” (Wilde)

A dramatic, speaking pianist show that celebrates the turn of the nineteenth century highlighting Moore’s De Profundis recording. Features screened art slides by Monet, Beardsley and Toulouse-Lautrec with Oscar Wilde spoken witticisms and writings, interspersed with English palm court melodies, French precision and Russian romance. The grand finale is Frederic Rzewski’s De Profundis for speaking pianist, a provocative music theater piece that re-works the original text by Oscar Wilde. This compositional tour-de-force makes unheard of demands on the concert pianist: singing, whistling, crying, hitting and scratching.

Press

‘I found Frederic Rzewski’s reworking of Oscar Wilde’s original text for De Profundis, and Moore’s performance of it, intensely moving. In addition to her formidable pianistic skills, she has a beautiful, expressive speaking voice. It allowed her to cover a huge range of vocal delivery from the most tender feelings to almost unbearable screams of anguish. To do this while playing the difficult score was quite remarkable.’ — ARTLOOK Sept 2005

‘The whole is an uneasy amalgam of manic states to which Moore brought utter conviction and riveting virtuosity’ — The Australian Adelaide Festival 2000

‘Moore began her recitation of Wilde’s prose, into which she buried herself with the skill of a trained actress and the rhythmic intuition of a rapper’ — Berkshire Eagle July 2003

Performance Schedule

Schubert Blues Elena Kats-Chernin

Purple Prelude Elena Kats-Chernin

Variations on a Serious Black Dress Elena Kats-Chernin

intermission

Sonata Lost and Found Elena Kats-Chernin

Rags (selected) Elena Kats-Chernin

(Duration: 70 minutes)

Works by Australian pianist-composer virtuoso Elena Kats-Chernin from Lisa Moore’s Tall Poppies CD Purple, Black and Blues.

Press

‘This Purple Black and Blues disc contains powerfully intense performances. Moore’s playing reveals a total and implicit understanding of its purposes’ — MCA Music Forum

Performance Schedule

To His Coy Mistress (w/voice) Frederic Rzewski

De Profundis (piano and voice) Frederic Rzewski

intermission

For the Sexes: The Gates of Paradise (piano, voice and DVD) Martin Bresnick

(Duration: 70 minutes)

Featuring text by Andrew Marvel, Oscar Wilde and William Blake. A theatrical evening at the piano featuring music, text and DVD projections. The pianist sings, whistles, speaks, shouts music written especially for her unique theatrical abilities.

Performance Schedule

Piano Step Sam Adams

I Move to Keep things Whole Paul Kerekes

Bad Blood Julian Day

Sensitive Spot Kate Moore

intermission

Ceramics Ryan Brown

How Can I Live In Your World of Ideas? Timo Andres

I’m only a narcissist because we have so much in common Bryan Senti

Fast Chords Hannah Lash

(Duration: 75 minutes)

New virtuosic works by young(ish) composers under 40

Press

‘Timothy Andres’s haunting How Can I Live in Your World of Ideas? (2007) starts with a coolly sophisticated line that he punctures with little bursts. Uneasily elegiac, the piece folds in short quotes from Chopin and Mozart without becoming cute or emptily postmodern. It exudes melancholy, a sense of loss.’ — Zachary Woolfe, The New York Times May 29 2011

repertoire from the following list:

Barcarolle Frederic Chopin

Ballade no.3 and 4 Frederic Chopin

Sonata in B flat minor Frederic Chopin

Fantasie Impromptu Frederic Chopin

North American Ballads Frederic Rzewski

De Profundis Frederic Rzewski

(Duration: 90 minutes)

Timeless piano music by the two great Frederics.

Press

‘De Profundis, Frederic Rzewski’s tender, magnificently theatrical setting of Oscar Wilde’s letters from the Reading Gaol, is one of the great scores of the 1990s, and it sounds as revelatory as ever in pianist Lisa Moore’s brilliant new recording…Also on the disc are Rzewski’s four “North American Ballads,” and the opening “Dreadful Memories,” in particular, is soft-edged and tender enough to elicit tears.’ — Josh Kosman, San Francisco Chronicle June 2003

‘Blessed with a beautiful speaking voice, her delivery of the actual text (De Profundis) is clear and confronting, often profoundly moving…’ — RealTime (Adelaide Festival 2000)

pic with Frederic Rzewski in Norfolk CT 2008

Sonata for Two Pianos and Percussion Bela Bartok

Caprichos Enfaticos* Martin Bresnick

(Duration: 60 minutes)

* with projected images from the Goya etchings “The Disasters of War” – this is a piano concerto written for Lisa and percussion quartet (commissioned by So Percussion).

Piano and percussion quartet with DVD projections. Music on Lisa Moore’s Cantaloupe Recordings

Press

‘Martin Bresnick’s Caprichos Enfáticos: Los Desastres de la Guerra, an 8-movement concerto for pianist Lisa Moore and So Percussion, begins with, of all things, a farandole/farándula – a popular, jaunty 6/8 chain dance. In live performance, Lisa Moore plays the opening line of the farandúla on xylophone, alone on stage. A percussionist enters behind her and seamlessly takes over the line, and Moore continues to the second line. A second percussionist enters, taking over the first line, and the first percussionist moves to the second line, and Moore moves to the next layer, etc. It’s torturous to try and describe the effect in words, especially since it’s been three years since I saw it live at the 2008 Canberra International Music Festival in Australia, but it really does look and feel like a musical chain dance. It’s also just really cool to watch Lisa Moore play toms.” — Jeremy Beck, I Care If You Listen

“But the force and inventiveness of the music carries the day, and the performance, by the extraordinary pianist Lisa Moore and the splendid So Quartet, is first-rate.” — Josh Kosman, The San Francisco Chronicle

“Ms. Moore plays spiritedly and the rhythmic versus a-rhythmic elements balance nicely in her hands. She doubles on a harmonium in the later movements and gives out with a kind of earthy chorale folksiness.” — Grego Gapplegate Edwards, Classical Modern Music

Performance Schedule

“my lips from speaking…” * Julia Wolfe

Stainless Staining Donnacha Dennehy

Lightning Slingers and Dead Ringers Annie Gosfield

Sensitive Spot Kate Moore

Piano Counterpoint Steve Reich

(Duration: 60 minutes)

Electric, amplified piano music with samplers, playback, DVD/screen and keyboards.

Press

“Lisa Moore, founding pianist of the Bang on a Can All-Stars, plays both works with mesmerizing command of Dennehy’s simmering soundscapes and finely graded dynamic palette” — Gramophone Nov ’12

“Lisa Moore’s rendition of Annie Gosfield’s Lightning Slingers and Dead Ringers, in its U.S. premiere, (@ the Bang on a Can Marathon) was a tour de force. A layered pastiche that includes prepared-piano, vintage-synthesizer and factory sounds, the jazz-inflected music was anchored by a mechanical continuo that recalled old-time railroad machinery. The combination of grand piano and well-chosen electronic samples created a 21st-century orchestra for a single performer.” — Gail Wein, MusicalAmerica July ’08

Performance Schedule

Six Etudes and Musica Ricercata Gyorgy Ligeti

intermission

In the Mist Leos Janacek

The Dream of the Lost Traveller Martin Bresnick

Six Dances in Bulgarian Rhythm Bela Bartok

(Duration: 90 minutes)

This program features the music of Bartok, Ligeti, Janacek and Bresnick. Some of the greatest music of our time with Balkan dance rhythms, Eastern-European folk melodies and stirring slavic harmonies.

Press

“Ms. Moore’s steely virtuosity and bold imagination showed equally during commanding accounts of three movements from Gyorgy Ligeti’s Musica Ricercata, followed by three selections from his first book of Études…” — Steve Smith, The New York Times April 2011

Performance Schedule

Sonata No.10 (Insect) Alexander Scriabin

Etudes/Preludes Alexander Scriabin

intermission

Pictures at an Exhibition Modeste Mussorgsky

(Duration: 90 minutes)

Featuring the music of the great Russian composers Scriabin and Mussorgsky this program explores the world of Russian decadence, romance and suffering.

Press

‘Suffused throughout with powerful, dense passages of fearsome difficulty, and Moore made it look easy. Moore’s thundering virtuosity – she virtually demolished the piano’s lower register at the end.’ — Seen and Heard Music Web Jan ‘06

Performance Schedule

Three Page Sonata Charles Ives

Concord Sonata Charles Ives

Piano Variations Aaron Copland

North American Ballads Frederic Rzewski

Piano Piece no.4 Frederic Rzewski

Willie’s Way Martin Bresnick

Piano Counterpoint Steve Reich

It All Adds Up (selections) Paul Lansky

Mad Rush Philip Glass

Powerful selections from classics in the American 20th and 21st Century piano library.

Press

“Martin Bresnick’s rowdy, sensual Willie’s Way (2006) asked the pianist to slap herself in the face, snap her fingers and beat her lap while playing a dazzling bluesy fantasy on Cream’s cover of Willie Dixon’s ‘Spoonful’.” — Zachary Woolfe, The New York Times

“Paul Lansky’s highly demanding toccata received a performance of breathtaking ease and assurance” — The Canberra Times May ’06

“One of those who undoubtedly maintained a high degree of mastery was the pianist Lisa Moore, guest director of this first Greenway program, a knee-bending, foot-rocking conductor…and an excellent soloist in Charles Ives’s Three-Page Sonata, a work which manages to be visionary, irreverant and genuinely entertaining.” — The Sydney Morning Herald

The Pleasure of Being Lost –  a program of American music that celebrate the complexities of time and color

John Luther Adams – Among Red Mountains

Lois V Vierk – Yeah, Yeah, Yeah  

Jim Fox – the pleasure of being lost

Peter Garland – Bright Angel/Hermetic Bird – I and II

Michael Byron – New Work (world premiere)

David Mahler – Martin Bartlett at the Claremont Hotel

John Luther Adams – Tukiliit

Mad Rush (1979)

Piano Etudes no.5, 7 and 9

Metamorphosis 1-5 (1988)

Satyagraha Act III Conclusion (1980)

arr. Michael Riesman

Closing (1991)

arr. Lisa Moore

Piano Etude no. 2 (1994)

(Duration: 65 minutes)

Music by Philip Glass from Lisa Moore’s 2015 Mad Rush CD (Orange Mountain Music) presenting music with roots in motion pictures, opera, Ghandi, and Buddhism. Mad Rush was written for the Dalai Lama’s dramatic 1981 entrance into St. John the Divine Cathedral, NYC. Metamorphosis I was composed for The Thin Blue Line – a 1988 Errol Morris documentary about Randall Dale Adams who was wrongfully convicted of murdering a police officer and sentenced to death. Metamorphosis II was featured in The Hours – a film based on Virginia Woolf. Satyagraha Act III Conclusion is a 7 minute piano arrangement of the opera’s final scene. “Satyagraha” is Sanskrit for “truth force”. Satyagraha deals with Gandhi’s early years in South Africa and his development of non-violent protest. “Closing” is a solo arrangement of the Music in Twelve Parts finale. Etude no. 2 completes the concert, building rich resonance over a lilting 7/8 – 4/4 rhythm.

Press

“The memory of Moore’s lucid, luminous performance are all I have left to spin into this tale. This performance needs no aid in finding embedding itself into my memory. I’ve heard some dismiss Glass’ work for its overt simplicity, and piano it would seem to reduce further its already minimal content. But Moore’s playing shaded each repeated scale fragment and every basso thump to rang out among the Old Masters in the Toledo Museum of Art’s Great Gallery” — David Dupont, I Care If You Listen

“This album of piano works by Philip Glass has more life and freshness than the composer’s own recordings, themselves still vital. When “Mad Rush” begins to teem, Ms. Moore’s playing seems to escape the shackles of Glass’s processes. In the shifting chords of “Closing,” lines sing as if in Baroque counterpoint, with a fragility and tenderness that recalls Strauss. The five tableaux of “Metamorphosis,” and an arrangement of the end of “Satyagraha,” are scarcely less diaphanous.” — David Allen, The New York Times June ‘15

Bringing Roses With Her Words
Jerome Kitzke

Ishi’s Song
Martin Bresnick

Little Room
William Gardiner

Sliabh Beagh
Kate Moore

Equality and Prayer
Brett Dean
(text: Michael Leunig)

De Profundis
Frederic Rzewski
(text: Oscar Wilde)

I Think It’s Going To Rain Today
Randy Newman

(Duration: 90 minutes)

An intimate, personal and poignant concert of music for piano and voice.

Press

‘She followed with Randy Newman’s “I Think It’s Going to Rain Today” as an encore without leaving the stage. It was a suitable, gracious way to end one of the finest programs I’ve attended this year. The audience took a moment to let it sink in before giving Moore a sustained, hearty ovation.’ — A Beast In A Jungle July ‘14 Center for New Music San Francisco

August 2018: “From Me To You”  in Extended Play @ City Recital Hall  Murray Black writes: “Lisa Moore’s impressive five-part set – the highlight was her compelling performance of Frederic Rzewski’s De Profundis in which Moore sobbed, sighed and spoke from Oscar Wilde’s text while playing the difficult piano part” (The Australian Aug 28, 2018)

“the stone people who live in the wind”

Tukiliit
John Luther Adams

Among Red Mountains
John Luther Adams

Nunataks
John Luther Adams

Sliabh Beagh
Kate Moore

Earring
Julia Wolfe

Compassion
Julia Wolfe

Orizzonte
Missy Mazzoli

Ishi’s Song
Martin Bresnick

(Duration: 80 minutes)

Music from Lisa’s latest CD The Stone People (Cantaloupe)

This recording takes its name from a piece by John Luther Adams. His Tukiliit is subtitled “the stone people who live in the wind,” and Lisa’s decision to focus on Tukiliit became the organizing principle for the rest of this recording. John’s music is ruggedly elemental, using very restrained materials as a way of probing some of our most fundamental human truths. Who we are. Where we are. How we relate to each other. How we relate to the natural world. His pieces are stark explorations of humankind in its most elemental state, and this CD brings together, for the first time, his complete acoustic music for solo piano. The composers on this recording all share these concerns because they are all composer-explorers. Martin Bresnick’s reliquary for a song sung by Ishi, the last surviving member of a Native American tribe, who died without telling anyone what the words meant. Julia Wolfe’s commitment to an elemental human value. Kate Moore’s exploration of her Irish-Australian heritage. Missy Mazzoli’s pursuit of the unattainable horizon. The mysteries echo down through the ages. Who we are. Where we are. How we relate to each other. How we relate to the natural world. – David Lang

Press

“Ms. Moore offered a beautiful performance of Mr. Bresnick’s piece, with the meditative lucidity that is the hallmark of her playing. Perhaps coincidentally, the work illuminates seemly irreconcilable opposites, with alternating major and minor versions of the same chord. Repetitive fragments build up tension until the music abruptly gives way to conciliation. It’s the major mode that wins in the end, but quietly, without triumph” — Corinna da Fonseca-Wollheim, The New York Times May 2015

Mad Rush (1979)

Metamorphosis 1 (1988)

Metamorphosis 2 (1988)

Metamorphosis 4 (1988)

Satyagraha Act III Conclusion (1980)

Closing (1991)

Etude no. 2 (1994)

Philip Glass

intermission

For The Sexes: The Gates of Paradise (2001)

Martin Bresnick

Text and original imagery by William Blake (1757-1827)
Visual animation by Puppetsweat Theater

(Duration: 90 minutes)

A concert of expansive piano music with a narrative beyond the purely abstract – composed by Philip Glass and Martin Bresnick. (Includes text and DVD projection. Suitable for art galleries and museums).

This concert presents music with roots in motion pictures, opera, Ghandi, Buddhism and William Blake. The opening Mad Rush was written for the Dalai Lama’s dramatic 1981 entrance into St. John the Divine Cathedral, NYC. Metamorphosis I was composed for The Thin Blue Line – a 1988 Errol Morris documentary about Randall Dale Adams who was wrongfully convicted of murdering a police officer and sentenced to death. Metamorphosis II was featured in The Hours – a film based on Virginia Woolf. Satyagraha Act III Conclusion is a 7 minute piano arrangement of the opera’s final scene. “Satyagraha” is Sanskrit for “truth force”. Satyagraha deals with Gandhi’s early years in South Africa and his development of non-violent protest. “Closing” is an arrangement of the larger Music in Twelve Parts finale. The first half closes with Etude no. 2, building rich resonance over a lilting 7/8 – 4/4 rhythm.

Exiles – a piano drama

Little Room* — William Gardiner
Sliabh Beagh* — Kate Moore
Danny Boy adrift in the rising tide  – Erik Griswold
Ishi’s Song – Martin Bresnick
De Profundis – Frederic Rzewski (text Oscar Wilde)

* commissioned by Lisa Moore with funding from the Australia Council

PRESS:

“Moore returned onstage a changed person-outfitted in black, her hair loose, and wearing a lapel microphone to unleash an astonishing performance of Frederic Rzewski’s ‘De Profundis’ for speaking pianist…..Moore’s considerable music theatre skills…..what impressed in all these pieces plus a set of etudes and preludes of Scriabin was Moore’s involved approach and the superb clarity of her playing.”
The Australian (for ‘Wilde’s World’ Adelaide Festival 2000)

Lisa’s playing (and singing) here is, as always, supremely musical and controlled and full of intent, and the piece, like all of Martin’s music, is profound, surprising, and rewarding to delve into. The Ishi of the title was the last of his people–the Yahi Indians–and the piece is based on transcription of a traditional song he recorded after being taken in by anthropologists at the University of California, Berkeley (his story is definitely worth reading). I’ve heard Lisa play (and Martin introduce) Ishi’s Song live a number of times now, and each performance feels like a brief glimpse into a lost world. The original melody is sung and then braided into shimmering, shifting textures, creating a mirage-like sensation, like being on the edge of seeing or grasping something that ultimately remains elusive. (Eileen Mack, New Music USA)

“Lisa Moore‘s concert last Sunday afternoon at The Center for New Music drew a standing room only crowd, and those in the audience were treated to an exceptionally well-conceived and performed program of music by living composers…. a large part of her repertoire are pieces for written for piano and voice, which are altogether different from lieder or art songs as the pianist and vocalist are the same. It’s a tricky feat, and one I’ve never seen performed live by a classical pianist, at least like this….De Profundis is a twenty-five minute excursion through the anguish and brilliance of Oscar Wilde’s famous 1895 letter written during his imprisonment for homosexuality. Rzewski’s music captures something fundamental in Wilde’s words, and Moore did both proud, turning in an exhilarating performance, full of fleeting moments instead of approaching it like an epic. When it was over it felt like only a few minutes had passed, and the audience took a moment to let it sink in before giving Moore a sustained, hearty ovation….She followed with Randy Newman’s “I Think It’s Going to Rain Today” as an encore without leaving the stage. It was a suitable, gracious way to end one of the finest programs I’ve attended this year.”
by John Marcher
A Beast in a Jungle
July 2014

“On her most recent album, “The Stone People,” the pianist Lisa Moore sings and plays Martin Bresnick’s hypnotic “Ishi’s Song,” a setting of a chant by the last member of the Yahi, who died in 1916.”
Corinna da Fonseca-Wollheim, The New York Times,
April 3, 2016

(Duration: 75 minutes)

Exiles

Exiles is a performance-art concert (and ongoing commissioning project) presenting dramatic works for a solo pianist who plays, speaks, and sings.
The subject is roots, and within that: distance, estrangement, immigration, travel, place, and change. The focal point is De Profundis – a 30 minute dramatic oratorio with music composed and text adapted by Frederic Rzewski from original text by Irish writer Oscar Wilde (excerpted from his 1895 letter “De Profundis” written in Reading Goal while prisoned for homosexual acts). This powerful piano tome is composed for a speaking, whistling, singing, percussive, and emoting pianist.
The concert also features the devastatingly beautiful Ishi’s Song by Martin Bresnick (about the last Yahi Native American) as well as moving, recently commissioned works by Irish-Australian composers – Kate Moore, Erik Griswold, and William Gardiner (the latter with text adapted by Lisa Moore, drawn from poems, novels, diaries and letters). Ambient sound designed by the Australian composer William Gardiner envelops the space between works.

Sonata in Eb Hob.52 Joseph Haydn

Sonata Opus 31 no.3 “The Hunt” (1802) Beethoven

Sonata Opus 54 (1804) Beethoven

intermission

De Profundis for speaking pianist (1991) Frederic Rzewski (text: Oscar Wilde)

(Duration: 90 minutes)

A guest in the complete Beethoven piano sonata cycle at the 2017 Canberra International Music Festival Moore presents three master composers for piano in dramatic contrast – Haydn, Beethoven and Rzewski. One Haydn sonata, two Beethoven sonatas and Rzewski’s De Profundis – a dramatic melodrama composed for speaking pianist reciting text by Oscar Wilde – his last work of prose, written while imprisoned in Reading Goal (1897) and set by American composer Frederic Rzewski in 1991 and available on Moore’s Cantaloupe Music CD.

Press

‘Lisa Moore being a woman, her recitation moves Wilde’s words into a slightly more abstract realm than that of Rweski’s…LM’s performance is more lyrical overall…I quickly became fond of Moore’s De Profundis. LM’s performances embrace the written-improvisatory feel of these pieces, though she is more introspective…This is a very enjoyable disc of important repertoire; highly recommended’ — Fanfare Magazine

De La Chica: Preludes Op.8

The recently released Preludes Op.8 by Columbian composer Julián de la Chica for piano and synthesizer

Irreverence Group Music

Prelude no.13 https://www.youtube.com/watch?v=EGWRFBkeYYI

A dramatic evening of theatrics and music for a speaking, acting, singing pianist – featuring the texts of William Blake and Oscar Wilde

For The Sexes: The Gates of Paradise by Martin Bresnick
text and (projected) etched images by William Blake (from The Disasters of War) length 31′

De Profundis by Frederic Rzewski
text by Oscar Wilde (excerpted from his 1895 letter written in prison to Lord Alfred Douglas) length 29′

Program length 60′
Tech: screen, blackout, projections, PA/mic

Press:

‘More profound artistically was Martin Bresnick’s touchingly eloquent For The Sexes: The Gates of Paradise. Integral to this piece are the projections behind the piano of 17 of Blake’s engravings, which have been subtly manipulated and sequences by video artist Leslie Weinberg.’ — The Australian July 2001

“Moore returned onstage a changed person-outfitted in black, her hair loose, and wearing a lapel microphone to unleash an astonishing performance of Frederic Rzewski’s ‘De Profundis’ for speaking pianist…..Moore’s considerable music theatre skills…..what impressed in all these pieces plus a set of etudes and preludes of Scriabin was Moore’s involved approach and the superb clarity of her playing.”
The Australian (for ‘Wilde’s World’ Adelaide Festival 2000)

“Lisa Moore‘s concert last Sunday afternoon at The Center for New Music drew a standing room only crowd, and those in the audience were treated to an exceptionally well-conceived and performed program of music by living composers…. a large part of her repertoire are pieces for written for piano and voice, which are altogether different from lieder or art songs as the pianist and vocalist are the same. It’s a tricky feat, and one I’ve never seen performed live by a classical pianist, at least like this….De Profundis is a twenty-five minute excursion through the anguish and brilliance of Oscar Wilde’s famous 1895 letter written during his imprisonment for homosexuality. Rzewski’s music captures something fundamental in Wilde’s words, and Moore did both proud, turning in an exhilarating performance, full of fleeting moments instead of approaching it like an epic. When it was over it felt like only a few minutes had passed, and the audience took a moment to let it sink in before giving Moore a sustained, hearty ovation….She followed with Randy Newman’s “I Think It’s Going to Rain Today” as an encore without leaving the stage. It was a suitable, gracious way to end one of the finest programs I’ve attended this year.”
by John Marcher
A Beast in a Jungle
July 2014

Sonata 1.x.1905 Leoš Janàček
Orizzonte Missy Mazzoli
Aus der Tiefen Paul Grabowsky
Ishi’s Song Martin Bresnick

Prelude and Fugue, B minor Bk 1 J.S. Bach
Sliabh Beagh Kate Moore
Etude no. 2 Philip Glass
Piano Piece no. 4 Frederic Rzewski

(Duration: 75 minutes)

A rich selection of dramatic music for the “piano/forte”

Earring Julia Wolfe

Compassion Julia Wolfe

Six Etudes and a Dream Hannah Lash

my lips from speaking Julia Wolfe

yeah, yeah, yeah Lois V Vierk

Sensitive Spot Kate Moore

Sliabh Beagh Kate Moore

Julia Bunita Marcus

Orizzonte Missy Mazzoli

Music with an intimate touch – highlighting who we are, what we do and how we feel.

Press

“It’s with the six pianos of my lips from speaking (here remarkably performed by Lisa Moore) that Wolfe really pushes things over the edge.” — New Music Box

Performance Schedule

Sonata in Eb Hob.52 Joseph Haydn

Waldscenen Robert Schumann

In The Mist Leos Janacek

intermission

Pictures at an Exhibition Modeste Mussorgsky

(Duration: 90 minutes)

Press

‘Dispensing with fireworks in five selections from Schumann’s Waldszenen, Ms. Moore phrased with a breathlike lyricism in the introduction and finale; between those points she showed her capacity for illuminating character, most vividly in a haughty, preening Vogel als Prophet.’ — Steve Smith, The New York Times April 2011

Performance Schedule

Etude Op.2 no.1 (1887)

Prelude Op.11 no.5 (1896)

Prelude Op.27 no.2 (1900)

Prelude Op.33 no.3 (1903)

Prelude Op.48 no.2 (1905)

Prelude Op.51 no.2 (1906)

Prelude Op.74 no.3 (1914) Alexander Scriabin

Sonata – From the Street 1.x.1905 Leos Janacek

Six Dances in Bulgarian Rhythm (1926-1939) Bela Bartok

Satyagraha – Conclusion, Act 3 (1980)Philip Glass

Ishi’s Song (2012) Martin Bresnick

Piano Piece no. 4 (1977) Frederic Rzewski

(Duration: 60 minutes)

Music spanning 120 years of flowing piano music, tinged with “eastern” influences or written by composers with eastern European roots.

Press

“I prefer her interpretation of the Scriabin pieces, all miniatures, where her ability to pounce on the harmonic skeleton and manipulate its melodic muscle makes perfect musical sense. They are all clearly and convincingly projected, passionately powerful” — RealTime Adelaide Festival 2000 Adelaide Town Hall

Performance Schedule

Reflets dans l’eauClaude Debussy

Waldscenen Robert Schumann

intermission

Pictures at an Exhibition Modeste Mussorsky

(Duration: 75 minutes)

Ideal for art galleries and museums – music inspired by visual imagery.

Press

‘Dispensing with fireworks in five selections from Schumann’s Waldszenen, Ms. Moore phrased with a breathlike lyricism in the introduction and finale; between those points she showed her capacity for illuminating character, most vividly in a haughty, preening Vogel als Prophet….’ — Steve Smith, The New York Times April 2011

Performance Schedule

Piano Etudes (six etudes from Bk 1 & 2) Gyorgy Ligeti

Musica Ricercate Gyorgy Ligeti

intermission

For the Sexes: The Gates of Paradise Martin Bresnick

(Duration: 90 minutes)

This concert opens with a collection of some of Gyorgy Ligeti’s finest works for piano, followed by American composer Martin Bresnick’s setting of William Blake’s engravings and text with video by Leslie Weinberg.

Press

‘More profound artistically was Martin Bresnick’s touchingly eloquent For The Sexes: The Gates of Paradise. Integral to this piece are the projections behind the piano of 17 of Blake’s engravings, which have been subtly manipulated and sequences by video artist Leslie Weinberg.’ — The Australian July 2001

‘Lisa Moore, an Australian pianist long based in and around New York, has always been a natural, compelling storyteller. Ms. Moore’s steely virtuosity and bold imagination showed equally during commanding accounts of three movements from Gyorgy Ligeti’s Musica Ricercata, followed by three selections from his first book of Études.’ — Steve Smith, New York Times April 2011 link

Performance Schedule

Among Red Mountains John Luther Adams

On Noble Pond Chris Rogerson

Sliabh Beagh Kate Moore

Three Movements for Piano Stephen Cabell

(Murmuration, Night Music, Everest)

(Duration: 75 minutes)

New piano music influenced by our vast and beautiful natural landscape

Press

‘The young crowd listened in total, loud silence. Good thing, too, as Lisa Moore’s lucid, committed pianism made the best of four works, each dealing with an aspect of landscape or nature’ — Dave Allen, The New York Times June 2015 DiMenna Centre, NYC Kettlecorn New Music

The complete dramatic piano works by the Moravian Czech master composer Leoš Janàček

In The Mist  (1912)

From The Street, Sonata 1.X 1905

On an Overgrown Path (series I & II) (1901-11)

(Duration: 70 minutes)

Works by Leos Janacek from Lisa Moore’s Tall Poppies CD

Press

‘Among my favourite recordings Moore’s Janacek disc sits very easily in their company, indeed it combines the best of approaches, there is a greater rhythmic tension and the piano sound is rich and natural.’ — Andrew Ford, ABC Radio 24 Hours Magazine

Performance Schedule

Piano Etudes Bk 2 nos 7-12 Claude Debussy

Piano Etudes Op. 18 Bela Bartok

Piano Etudes (selections Bk 1 & 2) Gyorgy Ligeti

Seven Etudes Hannah Lash

Seven Etudes Don Byron

Etudes (selected) Philip Glass

(Duration: 75 minutes)

A concert of traditional and new virtuosic piano etudes.

Press

‘One of her signature pieces, Don Byron’s Seven Etudes, puts the pianist through a theater-of-pain demonstration in arrhythmia: pounding out one rhythm with her hands, she sings a series of “la-la-las” completely at odds with the piano. It’s a gripping demonstration.’ — Jayson Greene, Pitchfork Feb 28, 2012

‘Lisa Moore, an Australian pianist long based in and around New York, has always been a natural, compelling storyteller. Ms. Moore’s steely virtuosity and bold imagination showed equally during commanding accounts of three movements from Gyorgy Ligeti’s Musica Ricercata, followed by three selections from his first book of Études.’ — Steve Smith, New York Times April 2011

Performance Schedule

Schubert Blues Elena Kats-Chernin

Purple Prelude Elena Kats-Chernin

Variations on a Serious Black Dress Elena Kats-Chernin

intermission

Sonata Lost and Found Elena Kats-Chernin

Rags (selected) Elena Kats-Chernin

(Duration: 70 minutes)

Works by Australian pianist-composer virtuoso Elena Kats-Chernin from Lisa Moore’s Tall Poppies CD Purple, Black and Blues.

Press

‘This Purple Black and Blues disc contains powerfully intense performances. Moore’s playing reveals a total and implicit understanding of its purposes’ — MCA Music Forum

Performance Schedule

Sonata No.10 (Insect) Alexander Scriabin

Etudes/Preludes Alexander Scriabin

intermission

Pictures at an Exhibition Modeste Mussorgsky

(Duration: 90 minutes)

Featuring the music of the great Russian composers Scriabin and Mussorgsky this program explores the world of Russian decadence, romance and suffering.

Press

‘Suffused throughout with powerful, dense passages of fearsome difficulty, and Moore made it look easy. Moore’s thundering virtuosity – she virtually demolished the piano’s lower register at the end.’ — Seen and Heard Music Web Jan ‘06

Performance Schedule

Orizzonte Missy Mazzoli

Wed David Lang

Mad Rush Philip Glass

Willie’s Way Martin Bresnick

intermission

Authentic Presence Ingram Marshall

American Berserk John Adams

Second Childhood John Halle

Earring Julia Wolfe

Piano Counterpoint Steve Reich

(Duration: 90 minutes)

Vital, modern American music.

Press

‘Last Saturday the All-Stars’ sensational and sensitive pianist Lisa Moore offered the Janacek Sonata; etudes by Ligeti; Rzewski’s ”Winnsboro Cotton Mill Blues”; Martin Bresnick’s ”The Dream of the Lost Traveller”; and ”Wed,” by one of Bang on a Can’s cofounders, composer David Lang, a lovely, quiet, shimmering piece that is part lullaby, part requiem. Moore herself wore Levis accented by gold lame pumps.’ — Richard Dyer, Boston Globe

Repertoire from the following list:

Barcarolle Frederic Chopin

Ballade no.3 and 4 Frederic Chopin

Sonata in B flat minor Frederic Chopin

Fantasie Impromptu Frederic Chopin

North American Ballads Frederic Rzewski

De Profundis Frederic Rzewski

(Duration: 90 minutes)

Timeless piano music by the two great Frederics.

Press

‘De Profundis, Frederic Rzewski’s tender, magnificently theatrical setting of Oscar Wilde’s letters from the Reading Gaol, is one of the great scores of the 1990s, and it sounds as revelatory as ever in pianist Lisa Moore’s brilliant new recording…Also on the disc are Rzewski’s four “North American Ballads,” and the opening “Dreadful Memories,” in particular, is soft-edged and tender enough to elicit tears.’ — Josh Kosman, San Francisco Chronicle June 2003

‘Blessed with a beautiful speaking voice, her delivery of the actual text (De Profundis) is clear and confronting, often profoundly moving…’ — RealTime (Adelaide Festival 2000)

pic with Frederic Rzewski in Norfolk CT 2008

Performance Schedule

Prayer and Equality Brett Dean (text Michael Leunig)

Last Song Meredith Monk (text Meredith Monk)

Zebulon Rufus Wainwright (text Rufus Wainright)

Stur in Dur (Stuck in Major) Elena Kats-Chernin

By This River (arr. Moore) Brian Eno

Ishi’s Song Martin Bresnick

I Think It’s Gonna Rain Randy Newman

(Duration: 70 minutes)

A witty program of music with text featuring classics such as Brett Dean’’s startling Equality, Russian-Australian Elena Kats-Chernin’s cheeky Stur in Dur, Brian Eno’s reflective By This River and a Randy Newman timeless ballad.

Performance Schedule

To His Coy Mistress (w/voice) Frederic Rzewski

De Profundis (piano and voice) Frederic Rzewski

intermission

For the Sexes: The Gates of Paradise (piano, voice and DVD) Martin Bresnick

(Duration: 70 minutes)

Featuring text by Andrew Marvel, Oscar Wilde and William Blake. A theatrical evening at the piano featuring music, text and DVD projections. The pianist sings, whistles, speaks, shouts music written especially for her unique theatrical abilities.

Performance Schedule

Piano Step Sam Adams

I Move to Keep things Whole Paul Kerekes

Bad Blood Julian Day

Sensitive Spot Kate Moore

intermission

Ceramics Ryan Brown

How Can I Live In Your World of Ideas? Timo Andres

I’m only a narcissist because we have so much in common Bryan Senti

Fast Chords Hannah Lash

(Duration: 75 minutes)

New virtuosic works by young(ish) composers under 40

Press

‘Timothy Andres’s haunting How Can I Live in Your World of Ideas? (2007) starts with a coolly sophisticated line that he punctures with little bursts. Uneasily elegiac, the piece folds in short quotes from Chopin and Mozart without becoming cute or emptily postmodern. It exudes melancholy, a sense of loss.’ — Zachary Woolfe, The New York Times May 29 2011

Sonata for Two Pianos and Percussion Bela Bartok

intermission

Caprichos Enfaticos* Martin Bresnick

(Duration: 60 minutes)

* with projected images from the Goya etchings “The Disasters of War” – this is a piano concerto written for Lisa and percussion quartet (commissioned by So Percussion).

Piano and percussion quartet with DVD projections. Music on Lisa Moore’s Cantaloupe Recordings

Press

‘Martin Bresnick’s Caprichos Enfáticos: Los Desastres de la Guerra, an 8-movement concerto for pianist Lisa Moore and So Percussion, begins with, of all things, a farandole/farándula – a popular, jaunty 6/8 chain dance. In live performance, Lisa Moore plays the opening line of the farandúla on xylophone, alone on stage. A percussionist enters behind her and seamlessly takes over the line, and Moore continues to the second line. A second percussionist enters, taking over the first line, and the first percussionist moves to the second line, and Moore moves to the next layer, etc. It’s torturous to try and describe the effect in words, especially since it’s been three years since I saw it live at the 2008 Canberra International Music Festival in Australia, but it really does look and feel like a musical chain dance. It’s also just really cool to watch Lisa Moore play toms.” — Jeremy Beck, I Care If You Listen

“But the force and inventiveness of the music carries the day, and the performance, by the extraordinary pianist Lisa Moore and the splendid So Quartet, is first-rate.” — Josh Kosman, The San Francisco Chronicle

“Ms. Moore plays spiritedly and the rhythmic versus a-rhythmic elements balance nicely in her hands. She doubles on a harmonium in the later movements and gives out with a kind of earthy chorale folksiness.” — Grego Gapplegate Edwards, Classical Modern Music

Performance Schedule

“my lips from speaking…” * Julia Wolfe

Stainless Staining Donnacha Dennehy

Lightning Slingers and Dead Ringers Annie Gosfield

Sensitive Spot Kate Moore

Piano Counterpoint Steve Reich

(Duration: 60 minutes)

Electric, amplified piano music with samplers, playback, DVD/screen and keyboards.

Press

“Lisa Moore, founding pianist of the Bang on a Can All-Stars, plays both works with mesmerizing command of Dennehy’s simmering soundscapes and finely graded dynamic palette” — Gramophone Nov ’12

“Lisa Moore’s rendition of Annie Gosfield’s Lightning Slingers and Dead Ringers, in its U.S. premiere, (@ the Bang on a Can Marathon) was a tour de force. A layered pastiche that includes prepared-piano, vintage-synthesizer and factory sounds, the jazz-inflected music was anchored by a mechanical continuo that recalled old-time railroad machinery. The combination of grand piano and well-chosen electronic samples created a 21st-century orchestra for a single performer.” — Gail Wein, MusicalAmerica July ’08

Performance Schedule

Lotus Land and Pierrot Triste Cyril Scott

Pour le Piano Claude Debussy

Etudes and Preludes Alexander Scriabin

intermission

De Profundis Frederic Rzewski

(Duration: 70 minutes)

“to love oneself is the beginning of a life long romance” (Wilde)

A dramatic, speaking pianist show that celebrates the turn of the nineteenth century highlighting Moore’s De Profundis recording. Features screened art slides by Monet, Beardsley and Toulouse-Lautrec with Oscar Wilde spoken witticisms and writings, interspersed with English palm court melodies, French precision and Russian romance. The grand finale is Frederic Rzewski’s De Profundis for speaking pianist, a provocative music theater piece that re-works the original text by Oscar Wilde. This compositional tour-de-force makes unheard of demands on the concert pianist: singing, whistling, crying, hitting and scratching.

Press

‘I found Frederic Rzewski’s reworking of Oscar Wilde’s original text for De Profundis, and Moore’s performance of it, intensely moving. In addition to her formidable pianistic skills, she has a beautiful, expressive speaking voice. It allowed her to cover a huge range of vocal delivery from the most tender feelings to almost unbearable screams of anguish. To do this while playing the difficult score was quite remarkable.’ — ARTLOOK Sept 2005

‘The whole is an uneasy amalgam of manic states to which Moore brought utter conviction and riveting virtuosity’ — The Australian Adelaide Festival 2000

‘Moore began her recitation of Wilde’s prose, into which she buried herself with the skill of a trained actress and the rhythmic intuition of a rapper’ — Berkshire Eagle July 2003

Performance Schedule

Six Etudes and Musica Ricercata Gyorgy Ligeti

intermission

In the Mist Leos Janacek

The Dream of the Lost Traveller Martin Bresnick

Six Dances in Bulgarian Rhythm Bela Bartok

(Duration: 90 minutes)

This program features the music of Bartok, Ligeti, Janacek and Bresnick. Some of the greatest music of our time with Balkan dance rhythms, Eastern-European folk melodies and stirring slavic harmonies.

Press

“Ms. Moore’s steely virtuosity and bold imagination showed equally during commanding accounts of three movements from Gyorgy Ligeti’s Musica Ricercata, followed by three selections from his first book of Études…” — Steve Smith, The New York Times April 2011

Performance Schedule

Three Page Sonata Charles Ives

Concord Sonata Charles Ives

Piano Variations Aaron Copland

North American Ballads Frederic Rzewski

Piano Piece no.4 Frederic Rzewski

Willie’s Way Martin Bresnick

Piano Counterpoint Steve Reich

It All Adds Up (selections) Paul Lansky

Mad Rush Philip Glass

Powerful selections from classics in the American 20th and 21st Century piano library.

Press

“Martin Bresnick’s rowdy, sensual Willie’s Way (2006) asked the pianist to slap herself in the face, snap her fingers and beat her lap while playing a dazzling bluesy fantasy on Cream’s cover of Willie Dixon’s ‘Spoonful’.” — Zachary Woolfe, The New York Times

“Paul Lansky’s highly demanding toccata received a performance of breathtaking ease and assurance” — The Canberra Times May ’06

“One of those who undoubtedly maintained a high degree of mastery was the pianist Lisa Moore, guest director of this first Greenway program, a knee-bending, foot-rocking conductor…and an excellent soloist in Charles Ives’s Three-Page Sonata, a work which manages to be visionary, irreverant and genuinely entertaining.” — The Sydney Morning Herald

The Pleasure of Being Lost – a program of American music that celebrates time and color

John Luther Adams – Among Red Mountains

Lois V Vierk – Yeah, Yeah, Yeah  

Jim Fox – the pleasure of being lost

Peter Garland – Bright Angel/Hermetic Bird – I and II

Michael Byron – New Work (world premiere)

David Mahler – Martin Bartlett at the Claremont Hotel

John Luther Adams – Tukiliit