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”

something

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

Performance Schedule

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

Performance Schedule

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.

Performance Schedule

Mad RushPhilip Glass

Ishi’s SongMartin Bresnick

Little RoomWilliam Gardiner

Petit rêve pour les défunté petuniasHannah Lash

Equality and PrayerBrett Dean (text: Michael Leunig)

De ProfundisFrederic Rzewski (text: Oscar Wilde)

I Think It’s Going To Rain TodayRandy 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

Performance Schedule

Sonata 1.x.1905 Leos Janacek
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

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

Little Room* William Gardiner

Sliabh Beagh* Kate Moore

New Work* Kate Neal

New Work Julian Day

New Work Gerard Brophy

* with funding from the Australia Council

(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.

Performance Schedule

Earring Julia Wolfe

Compassion Julia Wolfe

Six Etudes and a DreamHannah Lash

my lips from speaking Julia Wolfe

Sensitive Spot Kate Moore

Sliabh Beagh Kate Moore

Julia Bunita Marcua

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

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)

Recently a guest in the complete Beethoven piano sonata cycle at the 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

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

Barcarolle Frederic Chopin

Sonata in B flat minor Frederic Chopin

Fantasie Impromptu Frederic Chopin

intermission

North American Ballads Frederic Rzewski

or

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)

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

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

Performance Schedule

De Profundis (piano and voice) Frederic Rzewski

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

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

“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

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

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

In The Mist Leos Janacek

From The Street, Sonata 1.X 1905 Leos Janacek

On an Overgrown Path (series I & II) Leos Janacek

(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

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

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

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

Performance Schedule: Big Ears Festival March 23 2017

Mad Rush (1979)

Metamorphosis 1-5 (1988)

Satyagraha Act III Conclusion (1980)arr. Michael Riesman

Closing (1991) arr. Lisa Moore

Etudes no. 5, 7, 9 and 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

From Big Ears Festival 2017:

“Lisa Moore’s exquisite solo piano performance at St. John’s Episcopal Cathedral was a new dimension for Big Ears…but the setting, in the sanctuary of the 125-year-old downtown church, lent a sacred mood to the hour-long concert. Big Ears often feels loosely spiritual, but hearing Mad Rush, Metamorphosis, Etude No. 2, and excerpts from Glassworks and Satyagraha—music that’s both intense and meditative, and all of it played with grace and quiet intelligence—in that space was unlike any previous Big Ears experiences I’ve had. The room was full of people, many of them with their eyes closed and heads bowed. In some ways it resembled a traditional piano recital; it also felt ceremonial and beatific.”  (Knoxville Mercury link here)

“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

Performance Schedule Big Ears Festival 2017

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

Performance Schedule: April 20 2017 Melbourne Recital Centre

Our Evenings is a journey through worlds of imagery, memory, intimacy and song.
Pianist Lisa Moore presents piano miniatures, etudes, preludes and works of extraordinary beauty and emotional power – music composed by some of our most beloved composers.
This ‘wonderfully lyrical pianist’ (Time Out NY) guides the listener across a tableau of expressive romanticism into the bold modern era, performing music by Schumann, Janácek, Debussy, Scriabin, Philip Glass and a new work from her latest CD The Stone People – “Sliabh Beagh” by Australia’s Kate Moore (for a singing pianist).

‘Ms. Moore phrased with a breathlike lyricism…she showed her capacity for illuminating character, most vividly in a haughty, preening Vogel als Prophet.’ (The New York Times)

On An Overgrown Path (1901-11) Leoš Janáček (1854-1928)
•Our Evenings
•The Madonna of Frydek
•A Blown Away Leaf

Piano Etudes (1994) Philip Glass (b.1937)
•Etude no.5
•Etude no.7
•Etude no.9

Preludes & Etudes (1887-1914) Alexander Scriabin (1872-1915)
•Prelude Op.11 no.5 Andante cantabile
•Etude Op.2 no. 1 Andante
•Prelude Op.33 no.3
•Prelude Op.48 no.2 Poetico con delizio
•Prelude Op.74 no.3 Allegro drammatico
•Etude Op.65. no.3 Molto vivace

Preludes (1911-13) Claude Debussy (1862-1918)
•Bruyères (Heather)
•Des pas sur la neige (Footprints in the snow)
•Les collines d’Anacapri (Hills of Anacapri)

Sliabh Beagh* (borderlands) (2015) Kate Moore (b.1979)

Vogel als Prophet (Bird as Prophet) (1848) Robert Schumann (1810-1856)

They Chattered Like Swallows Leoš Janáček

Good Night Leoš Janáček

* commissioned by Lisa Moore with assistance from the Australia Council

Performance Schedule

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.

Performance Schedule

Mad RushPhilip Glass

Ishi’s SongMartin Bresnick

Little RoomWilliam Gardiner

Petit rêve pour les défunté petuniasHannah Lash

Equality and PrayerBrett Dean (text: Michael Leunig)

De ProfundisFrederic Rzewski (text: Oscar Wilde)

I Think It’s Going To Rain TodayRandy 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 the Jungle July ‘14 Center for New Music San Francisco

Performance Schedule

Sonata 1.x.1905 Leos Janacek

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

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

Little Room* William Gardiner

Sliabh Beagh* Kate Moore

New Work* Kate Neal

New Work Julian Day

New Work Gerard Brophy

* with funding from the Australia Council

(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.

Performance Schedule

Earring Julia Wolfe

Compassion Julia Wolfe

Six Etudes and a DreamHannah Lash

Sensitive Spot Kate Moore

Sliabh Beagh Kate Moore

Julia Bunita Marcus

Orizzonte Missy Mazzoli

Music by some of the strongest voices in the new music scene today, music highlighting who we are, what we do and how we feel.

Press

“Kate Moore’s “Sliabh Beagh” — a tribute to her Irish Australian forebears that is at once an invented folk ballad and an extensive piano commentary on that material — ties itself into wonderful self-referential knots. But the most unforgettable glimpse of beauty here comes from composer Missy Mazzoli, whose “Orizzonte” is a still-voiced meditation on eternity, with a subdued yet haunting layer of electronic sounds overlaying the piano writing.” — Joshua Kosman, San Francisco Chronicle

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)

Recently a guest in the complete Beethoven piano sonata cycle at the 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

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

Barcarolle Frederic Chopin

Sonata in B flat minor Frederic Chopin

Fantasie Impromptu Frederic Chopin

intermission

North American Ballads Frederic Rzewski

or

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)

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

Fast Chords   Hannah Lash

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

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

Performance Schedule

De Profundis (piano and voice) Frederic Rzewski

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

Piano Etudes (selections or complete) Claude Debussy

Piano Etudes Op. 18 Bela Bartok

Piano Etudes (selections Bk 1 & 2) Gyorgy Ligeti

Six Etudes and a Dream Hannah Lash

Seven Etudes Don Byron

Etudes (selected) Philip Glass

(Duration: 75 minutes)

A concert of traditional and new virtuosic piano etudes.

Press

“The pianist Lisa Moore was the deft soloist in the premiere of “Six Etudes and a Dream,” whose seven vividly scored movements included mournful, slow melodies and virtuosic flurries in the highest register of the keyboard.” (April 9, 2016, The New York Times for the Hannah Lash Composer Portrait concert April 7th @ Miller Theatre)

‘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

“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

“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

“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

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

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

In The Mist Leos Janacek

From The Street, Sonata 1.X 1905 Leos Janacek

On an Overgrown Path (series I & II) Leos Janacek

(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

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

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

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