Solo Concert Programs

//Solo Concert Programs
Solo Concert Programs 2019-10-29T06:12:47+11:00

When Lisa Moore performs, the room erupts with virtuosity, soul, and drama. She performs entertaining, thematic solo programs  –  ideally suited and individually shaped for concert halls, museums, galleries, festivals, and clubs. Whether classical or  contemporary  –  her concerts may include media such as visual projections, animation, film, electronics, amplification, and the use of her voice – singing, speaking, and vocalizing – all while playing the piano.

Lisa Moore’s programs are open designs and flexible in repertoire content.

Please visit the shows below for details and samples.

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 or Luke Tierney, Tier1Arts, info@tier1arts.com

“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

From Trondheim Norway Aug 2019
“Lisa makes my dice too small”

The piano player visiting Trondheim on Thursday, made the water flow. Not literally, but this was the experience she created.
Words: Maria Veie Sandvik

Water flowed into the cathedral, it was like a dream.
Lisa Moore performed on a podium underneath the main tower, between the northern and southern wing. Despite her considerable international standing, she radiated a humble seriousness. She’s got natural authority, not expressed through posing gestures, but through calmness. Already before her fingers hit the keys, we are focused. The audience sit on chairs that make a lot of sound even by the slightest movement, still the only sound to be heard are occasional suppressed coughs.

The programme of the evening is dedicated to Philip Glass, “the founder of minimalism”, who’s been working cross culturally with icons like Doris Lessing, David Bowie and Woody Allen. Glass himself describes his works as “music with repetitive structure”. In addition to Glass, the audience were treated to “Ishi’s Song” by Martin Bresnick and “Wed” by David Lang.

Swathed in blue light, Moore starts with Glass’ “Etude no. 2”. The first thing that springs to mind is waves, the water flows in, growing in volume and intensity. Even when Moore releases a key, the sound hangs in the air for a long time. It is really, really quiet, not even the squeaking of a chair, only the falling sound of the note.

In the pause before “Metamorphosis I-V”, I move myself to the front row. The light shifts again and gets warmer, from ocean blue to apricot. Are we as an audience being transformed? This year’s Olavsfest impresses, not only through the festival’s choice of artists, but also through how they are presented to the audience. Moore’s playing is ravishing, enchanting, alluring – it’s like we’re all dissolving and become one. And this doesn’t happen through works of dead classic composers, but some that are very much alive. Bresnick is present to hear Moore play «Ishi’s Song». Before Moore sits down by the grand piano, we hear Bresnick tell us about Ishi, who in 1911 was the last survivor of the Yahi tribe of California. Bresnick emphasized how both Ishi and himself had lost the opportunity to speak their native tongue, and described the piece as a requiem for Ishi, but also as a song of healing. What made the piece stand out even further, was that Moore used her own voice, not just the keys on the piano. I got a similar experience from Rossana Mercado-Roja’s performance “Sin Nombre” at the Konst-Tid festival in Åre a few days later. What do you do when you no longer know your native tongue?
Then, the water flows in again, running through Moore’s fingers. It fills the cathedral and lights up the windows. Moore impresses through incredibly precise touches. She’s brilliant, and time and time again I get the feeling she’s gonna leave us – through her sudden and surprising changes, long before the concert ends. Finally she leaves us for real, but we applaud her back and get “Etude no. 7” as a gift in return. With this encore by Glass we also get to hear her hammering the keys, this time with even greater contrast in her approach. It’s like history itself wells out of her piano.
Olavsfest’s festival theme, transformation, turned specific through Moore’s choice of material. Thursday night, Moore gave a voice to both Ishi, Bresnick and countless others.

https://www.adressa.no/pluss/kultur/2019/08/05/Lisa-sprenger-terningen-min-den-blir-for-liten-19635543.ece

The Commuter Variations
Lisa Moore, piano & voice

This collection of new and recent music explores the piano combined with animation, foley, film, text, song, and minor histrionics – gently constructed around motifs of movement and place. This concert especially celebrates the artistic partnership of the animation artist Sal Cooper and composer Kate Neal. Their collaborative projects have produced whimsical, subtle, and startling performance works. Their The Commuter Variations* explores the quirks of daily routes and routines. 

Watch the concert premiere of The Commuter Variations here on youtube, from Melbourne Recital Centre, Aug 7th, 2019

Program:
Mayke Nas – Cleaning Instructions
Sal Cooper/Kate Neal –  Novel Instrument
Missy Mazzoli – Orizzonte
Gyorgy Ligeti – Arc-en-Ciel
David Lang – wed (animation by Isabela dos Santos)
Martin Bresnick – Bundists (Gyorgy, Robert and me)
Erik Griswold – Danny Boy adrift in the rising tide
Sal Cooper/Kate Neal – The Commuter Variations

Cooper/Neal’s The Commuter Variations was commissioned by Music Makers Melbourne Recital Center for the venue’s 10th Anniversary.*

  • “Artistic Director of Melbourne Recital Centre Marshall Maguire writes: “In 2019, Melbourne Recital commissioned 10 new works for our 10th anniversary. Our intention was to bring artists and audiences together in a celebration of music across a range of styles and genres. And we were delighted that Sal Cooper and Kate Neal were able to create the whimsical, fabulous, thought provoking and beautiful The Commuter Variations for our birthday. Bringing together live performance from the virtuosic Lisa Moore, animation, and a new score, was one of the best gifts we’ve had this year. It was a pleasure to work with all three artists on this project, and I know it will have a rich and long life in concert venues around the world.”

Commuter Variations image by Sal Cooper

Little Room – Exiles – an Irish-Australian pianodrama

Exiles is a performance-art show (and ongoing commissioning project) presenting screened animation and dramatic works for a solo pianist who plays, speaks, sings and does minor histrionics.
The subject is the search for our roots, and within that: distance, estrangement, immigration, travel, place, and change.
The concert features commissioned works composed by Irish-Australian composers – Kate Moore, Kate Neal/Sal Cooper (animation), 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. This program also features Stainless Staining by Irish composer Donnacha Dennehy (also commissioned by Lisa and featured on her Stainless Staining Cantaloupe CD).
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.

Little Room* — William Gardiner

Sliabh Beagh* — Kate Moore
Danny Boy adrift in the rising tide  – Erik Griswold
Stainless Staining**  – Donnacha Dennehy (with backing track)
The Commuter Variations*** – Kate Neal/Sal Cooper (animation)
De Profundis – Frederic Rzewski (text Oscar Wilde)

* commissioned by Lisa Moore with funding from the Australia Council
** commissioned by Lisa Moore with funding from the Irish Arts Council
*** commissioned by Melbourne Recital Center

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 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)

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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.

Ishi’s Song by Martin Bresnick

Bringing Roses With Her Words by Jerome Kitzke

Little Room by William Gardiner

Intimacy and Resistance by Ted Hearne

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)

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.
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

Steve Reich Hug @ The Shed NYC after Reich Richter show
Steve Reich Hug @ The Shed NYC after Reich Richter show

“downtown new york”

Selections from:

In a Landscape, 4’33”, Dream

John Cage

Mad Rush

Philip Glass

Etudes 2, 5, 7, 9
Philip Glass

Ellis Island, Last Song
Meredith Monk

Earring, Compassion, my lips from speaking
Julia Wolfe

Piano Counterpoint
Steve Reich

Piano Piece (for Philip Guston)
Morton Feldman

Piano Piece no.4, Winnsboro Cotton Mill Blues
Frederic Rzewski

(Duration: 50-80 minutes)

Music from Lisa’s CDs including Which Side Are You On? (Rzewski) and The Stone People (Julia Wolfe) (Cantaloupe)

Portraying a riveting sense of the groundbreaking, ‘downtown’ NYC music scene, from the 1940’s to the present day – this program includes works written by the major composers including John Cage’s outrageous 4’33” and Julia Wolfe’s “Compassion”, written in memory of 9/11.

Press

““Lisa Moore gave a startlingly good performance: she was lustrous at the keyboard, and at once engaging and challenging.” — Paul Griffiths, The New York Times May 2015

De La Chica: Preludes Op.8

This concert features 13 beautiful, meditative Preludes Op.8 by the Columbian composer Julián de la Chica from Lisa’s recent CD release for piano and synthesizer. Julian de la Chica performs on synthesizer. This concert can be solo piano or piano with synthesizer.

PRESS:

” ‘Prelude No. 7’ has an abandoned 80s fairground vibe with the waltz-like accompaniment in the left hand and the subtle addition of ascending and descending synth passages that float around the melody like an ominous merry-go-round jingle, but from the 80s.” (Rosa Gollan, WNYC New Sounds, for more click here)

“The set of Preludes reveals a distinctive voice, evocative of distant and lost worlds… The playing of Lisa Moore is incredibly evocative … the sounds that she produces from the piano can best be described as achingly beautiful.” (Stephen Mould, Loudmouth/Music Trust for more: click here)

Record Label: Irreverence Group Music

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

“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.

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

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

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 by women – 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

Six Etudes and a Dream Hannah Lash

Etudes no.4 & no.8 Eleonor Sandresky

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

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

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

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

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

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

“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

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

Sonata No.10 (Insect) Alexander Scriabin

Etudes/Preludes Alexander Scriabin

intermission

Pictures at an Exhibition Modeste Mussorgsky

(Duration: 90 minutes)

Featuring 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

American 20th Century Masterpieces

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

****
From Trondheim Norway Aug 2019: “Lisa makes my dice too small”

The piano player visiting Trondheim on Thursday, made the water flow. Not literally, but this was the experience she created.
Words: Maria Veie Sandvik

Water flowed into the cathedral, it was like a dream.
Lisa Moore performed on a podium underneath the main tower, between the northern and southern wing. Despite her considerable international standing, she radiated a humble seriousness. She’s got natural authority, not expressed through posing gestures, but through calmness. Already before her fingers hit the keys, we are focused. The audience sit on chairs that make a lot of sound even by the slightest movement, still the only sound to be heard are occasional suppressed coughs.

The programme of the evening is dedicated to Philip Glass, “the founder of minimalism”, who’s been working cross culturally with icons like Doris Lessing, David Bowie and Woody Allen. Glass himself describes his works as “music with repetitive structure”. In addition to Glass, the audience were treated to “Ishi’s Song” by Martin Bresnick and “Wed” by David Lang.

Swathed in blue light, Moore starts with Glass’ “Etude no. 2”. The first thing that springs to mind is waves, the water flows in, growing in volume and intensity. Even when Moore releases a key, the sound hangs in the air for a long time. It is really, really quiet, not even the squeaking of a chair, only the falling sound of the note.

In the pause before “Metamorphosis I-V”, I move myself to the front row. The light shifts again and gets warmer, from ocean blue to apricot. Are we as an audience being transformed? This year’s Olavsfest impresses, not only through the festival’s choice of artists, but also through how they are presented to the audience. Moore’s playing is ravishing, enchanting, alluring – it’s like we’re all dissolving and become one. And this doesn’t happen through works of dead classic composers, but some that are very much alive. Bresnick is present to hear Moore play «Ishi’s Song». Before Moore sits down by the grand piano, we hear Bresnick tell us about Ishi, who in 1911 was the last survivor of the Yahi tribe of California. Bresnick emphasized how both Ishi and himself had lost the opportunity to speak their native tongue, and described the piece as a requiem for Ishi, but also as a song of healing. What made the piece stand out even further, was that Moore used her own voice, not just the keys on the piano. I got a similar experience from Rossana Mercado-Roja’s performance “Sin Nombre” at the Konst-Tid festival in Åre a few days later. What do you do when you no longer know your native tongue?

Then, the water flows in again, running through Moore’s fingers. It fills the cathedral and lights up the windows. Moore impresses through incredibly precise touches. She’s brilliant, and time and time again I get the feeling she’s gonna leave us – through her sudden and surprising changes, long before the concert ends. Finally she leaves us for real, but we applaud her back and get “Etude no. 7” as a gift in return. With this encore by Glass we also get to hear her hammering the keys, this time with even greater contrast in her approach. It’s like history itself wells out of her piano.

Olavsfest’s festival theme, transformation, turned specific through Moore’s choice of material. Thursday night, Moore gave a voice to both Ishi, Bresnick and countless others.

https://www.adressa.no/pluss/kultur/2019/08/05/Lisa-sprenger-terningen-min-den-blir-for-liten-19635543.ece”

The Commuter Variations
Lisa Moore, piano & voice

This collection of new and recent music explores the piano combined with animation, foley, film, text, song, and minor histrionics – gently constructed around motifs of movement and place. This concert especially celebrates the artistic partnership of the animation artist Sal Cooper and composer Kate Neal. Their collaborative projects have produced whimsical, subtle, and startling performance works. Their The Commuter Variations explores the quirks of daily routes and routines. 

Watch the premiere of The Commuter Variations concert here on youtube at Melbourne Recital Center, Aug 7th 2019

Program:
Mayke Nas – Cleaning Instructions
Sal Cooper/Kate Neal –  Novel Instrument
Missy Mazzoli – Orizzonte
Gyorgy Ligeti – Arc-en-Ciel
David Lang – wed (animation by Isabela dos Santos)
Martin Bresnick – Bundists (Gyorgy, Robert and me)
Erik Griswold – Danny Boy adrift in the rising tide
Sal Cooper/Kate Neal – The Commuter Variations

Cooper/Neal’s The Commuter Variations was commissioned by Music Makers Melbourne Recital Center for the venue’s 10th Anniversary*.

Danny Boy adrift in the rising tide by Erik Griswold was composed for my ongoing Irish Roots project which delves into the examination of lost Irish heritage. 

  • *”Artistic Director of Melbourne Recital Centre Marshall Maguire writes: “In 2019, Melbourne Recital commissioned 10 new works for our 10th anniversary. Our intention was to bring artists and audiences together in a celebration of music across a range of styles and genres. And we were delighted that Sal Cooper and Kate Neal were able to create the whimsical, fabulous, thought provoking and beautiful The Commuter Variations for our birthday. Bringing together live performance from the virtuosic Lisa Moore, animation, and a new score, was one of the best gifts we’ve had this year. It was a pleasure to work with all three artists on this project, and I know it will have a rich and long life in concert venues around the world.”

The Commuter Variations image by Sal Cooper

Little Room – Exiles – an Irish-Australian pianodrama

Little Room* — William Gardiner

Sliabh Beagh* — Kate Moore
Danny Boy adrift in the rising tide  – Erik Griswold
Stainless Staining**  – Donnacha Dennehy (with backing track)
The Commuter Variations*** – Kate Neal/Sal Cooper (animation)
De Profundis – Frederic Rzewski (text Oscar Wilde)

* commissioned by Lisa Moore with funding from the Australia Council
** commissioned by Lisa Moore with funding from the Irish Arts Council
*** commissioned by Melbourne Recital Center

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 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)[/fusion_text]

[Exiles is a performance-art show (and ongoing commissioning project) presenting screened animation and dramatic works for a solo pianist who plays, speaks, sings and does minor histrionics.
The subject is the search for our roots, and within that: distance, estrangement, immigration, travel, place, and change.
The concert features commissioned works composed by Irish-Australian composers – Kate Moore, Kate Neal/Sal Cooper (animation), 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. This program also features Stainless Staining by Irish composer Donnacha Dennehy (also commissioned by Lisa and featured on her Stainless Staining Cantaloupe CD).
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./fusion_builder_column_inner]

De La Chica: Preludes Op.8

This concert features 13 beautiful, meditative Preludes Op.8 by the Columbian composer Julián de la Chica from Lisa’s recent CD release for piano and synthesizer. Julian de la Chica performs on synthesizer. This concert can be solo piano or piano with synthesizer.

PRESS:

” ‘Prelude No. 7’ has an abandoned 80s fairground vibe with the waltz-like accompaniment in the left hand and the subtle addition of ascending and descending synth passages that float around the melody like an ominous merry-go-round jingle, but from the 80s.” (Rosa Gollan, WNYC New Sounds, for more click here)

“The set of Preludes reveals a distinctive voice, evocative of distant and lost worlds… The playing of Lisa Moore is incredibly evocative … the sounds that she produces from the piano can best be described as achingly beautiful.” (Stephen Mould, Loudmouth/Music Trust for more: click here)

Record Label: Irreverence Group Music

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

Bringing Roses With Her Words
Jerome Kitzke

Ishi’s Song
Martin Bresnick

Intimacy and Resistance
Ted Hearne

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.

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

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 by women – 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

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

Steve Reich Hug @ The Shed NYC after Reich Richter show
Steve Reich Hug @ The Shed NYC after Reich Richter show

“downtown new york”

Selections from:

In a Landscape, 4’33”, Dream
John Cage

Mad Rush
Philip Glass

Etudes 2, 5, 7, 9
Philip Glass

Ellis Island, Last Song
Meredith Monk

Earring, Compassion, my lips from speaking
Julia Wolfe

Piano Counterpoint
Steve Reich

Piano Piece (for Philip Guston)
Morton Feldman

Piano Piece no.4, Winnsboro Cotton Mill Blues
Frederic Rzewski

(Duration: 50-80 minutes)

Music from Lisa’s CDs including Which Side Are You On? (Rzewski) and The Stone People (Julia Wolfe) (Cantaloupe)

Portraying a riveting sense of the groundbreaking, ‘downtown’ NYC music scene, from the 1940’s to the present day – this program includes works written by the major composers including John Cage’s outrageous 4’33” and Julia Wolfe’s “Compassion”, written in memory of 9/11.

Press

““Lisa Moore gave a startlingly good performance: she was lustrous at the keyboard, and at once engaging and challenging.” — Paul Griffiths, The New York Times May 2015

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

To His Coy Mistress by Frederic Rzewski (text by Andrew Marvel) 5′

For The Sexes: The Gates of Paradise by Martin Bresnick

text and (projected) etched images by William Blake (from The Disasters of War) 31′

De Profundis by Frederic Rzewski

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

Program length 65′
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

Piano Etudes Bk 2 nos 7-12 Claude Debussy

Piano Etudes Op. 18 Bela Bartok

Piano Etudes (selections Bk 1 & 2) Gyorgy Ligeti

Six Etudes and a Dream Hannah Lash

Etudes no.4 & no.8 Eleonor Sandresky

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

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

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

New American Music

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

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

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

“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

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

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

American 20th Century Masterworks

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