August 4th 2022 “Critic’s Notebook” of The New York Times reviews Moore’s ‘no place to go but around’ album here:
“Rzewski For Lovers? Pianist Mines a Prickly Modernist’s Gentler Side”
Seth Colter Walls writes: “The lushness of some of its chords, though, is what strikes me most forcefully on repeat listens. And that’s thanks in part to Moore’s overall approach to Rzewski, which often allows for a greater range of emotion than other interpreters permit, including the composer…
While the composer’s version of “No Place to Go” offered some stark interpolations of the Italian labor movement song “Bandiera Rossa” — another political reference — Moore’s rendition truly lets that borrowed tune spill forth, toward the end of the 12th minute…
That inviting quality of Moore’s album extends to her latest performance of “Coming Together,” one of Rzewski’s most well-known contributions to the modern repertoire. Its text comes from a letter by the Attica prison uprising leader Sam Melville. But unlike some ceaselessly galvanic performances of this Minimalist-tinged composition, Moore’s solo voice-and-piano approach takes dramatic notice of references to lovers’ “emotions in times of crisis” that are present in the literary source material…
Just as striking is her take on the rarely heard “To His Coy Mistress,” a setting of Andrew Marvell’s poem from the 17th century. Moore’s playing is meticulous when it comes to the compact three-act structure of the music (and its text); she hits the gas with a controlled force, just before singing the line “But at my back I always hear/Time’s winged chariot hurrying near.” Later on, the word “embrace” triggers a newly reflective mode.”
FULL ARTICLE IN ‘ARTICLES’ http://lisamoore.org/press/articles/
The Australian: 5 Star ***** Rzewski album review by Vincent Plush
“Moore reveals the gamut of her artistry, from the Bjork-like delivery of Andrew Marvell poetry to the thunderous battering of her hapless Steinway. Here, Moore’s music is never less than dazzling and breathtaking, offering a take-no-prisoners manifesto that is urgent, vital life-affirming.” 5 Stars!
Aug 20, 2022
August 2021: for Moore’s solo concert at LOUD weekend MassMoca (produced by Bang on a Can)
New York Times review LINK
“With over 20 hours’ worth of performances, you could see one familiar look after another — all of them hallmarks of the fabled, free Bang on a Can Marathons in New York City. But here, in a two-day, paid-ticket environment, there was more time for each musician’s set to take on an individual character. And even though a few artists copped to first-day-back jitters, most appearances unfurled with crisp, defiant polish — as if they’d spent no time away from audiences.
That was particularly true of pianist Lisa Moore’s show on Friday, which featured pieces by Philip Glass, Don Byron, Martin Bresnick — and a world premiere from Frederic Rzewski, who died in June. The set was confirmation of the interpretive insights she has brought works by these composers on her recordings. And the Rzewski premiere — “Amoramaro,” subtitled “Love Has No Laws” — was bittersweet: an alternately seductive and prickly reminder of all the music of his that can no longer be written.
“Amoramaro,” commissioned for Moore by her husband, is nonetheless something to treasure (and, surely, record). Its occasionally lush chords — half-remembered and half-transformed from the American Songbook — commingle with austere, flinty runs that make trapeze-swing connections between distant registers. And its climactic, banging clusters could have been inspired by Rzewski’s experience playing Stockhausen’s “Klavierstücke.” That it all held together, over 15 minutes, was evidence of both Rzewski’s peculiar and personal palette, and of Moore’s keen feel for it.” (Seth Colter Walls, New York Times)
May 2019: Sydney Symphony Orchestra International Piano Series “In the Mists”
Sydney Morning Herald writes:
Lisa Moore: Revolutionary works old and new
By Peter McCallum
Lisa Moore in Recital
Presented by the Sydney Symphony Orchestra
City Recital Hall. April 29.
“Lisa Moore’s recital framed a selection of old-world European works by Janacek, Beethoven and Schumann with newer works from America that each, in their different ways, have redefined how we hear and think about the piano and about music.
Lisa Moore presented a program of revolutionary works.
At the start came Philip Glass’s Etude No. 2, whose repetitive undulating textures are, on the surface, ideally matched to the kind of tradition that many 19th century virtuosi indulged in to test the instrument and acoustic of the hall before moving to the main fare.
Glass, however, has subtly transformed such textures through his ear for chords that resist any sense of forward direction towards a goal, each existing like lonely vessels of the human feeling in an empty landscape.
Moore played this piece with warmth, avoiding the over-mechanical approach minimalist works sometimes engender. She ended with Frederic Rzewski’s striking Piano Piece No. 4, which pulsated with the kind of energy that will not be quietened. It begins quietly with insistent repetitions at the top of the keyboard that gradually grow in volume and move across the range to the lowest register, like a distant object moving inevitably to the foreground. The idea is revisited and reversed several times in the piece, at one point allowing a more melodic idea to be superimposed, before ending where it began.
Janacek’s four-movement work In the Mists mixes dreamy contemplative music with moments of agitation and fretful distemper-like irrational thoughts that threaten repose.
In Moore’s hands, the first movement of Beethoven’s Piano Sonata in E flat, Opus 31, No. 3 also had its disrupted moments, emphasising quirky change over continuity. The second movement was quick, driven by stubborn impetuousness and the third movement, a Menuetto hurried along a sense of staidness through flexible rhythm before a galloping finale.
After a restrained reading of Schumann’s suite of nine short pieces, Forest Scenes, Opus 82, Moore played Martin Bresnick’s Ishi’s Song, which began with a short sung fragment that is then subject to rumination through minimalist repetitions.”
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)
March 2017: The Knoxville Mercury raved about Lisa at her opening concert in the Big Ears Festival ’17: “Lisa Moore’s exquisite solo piano performance at St. John’s Episcopal Cathedral was a new dimension for Big Ears…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.”
Lisa Moore’s CD The Stone People made the New York Times best classical music recordings list 2016 – one of 20 cds worldwide and the Naxos Critics Choice Feb’17 list. Quote: “‘THE STONE PEOPLE’ Lisa Moore, piano and voice (Cantaloupe Music). The occasion for this disc is an assemblage of John Luther Adams’s three works so far for solo acoustic piano, including the sweeping “Among Red Mountains.” Playing through these stark landscapes with tenderness, Ms. Moore has sensitively set Mr. Adams’s trio alongside similarly atmospheric, somber, often wintry pieces Martin Bresnick, Julia Wolfe, Missy Mazzoli and Kate Moore.” (Zachary Woolfe)
The Stone People CD track “Ishi’s Song”
(by Martin Bresnick) made the 2016 top staff pick
at New Music USA
Lisa’s playing (and singing) here is, as always, supremely musical and controlled and full of intent, and the piece, like all of Martin’s music, is profound, surprising, and rewarding to delve into. The Ishi of the title was the last of his people–the Yahi Indians–and the piece is based on transcription of a traditional song he recorded after being taken in by anthropologists at the University of California, Berkeley (his story is definitely worth reading). I’ve heard Lisa play (and Martin introduce) Ishi’s Song live a number of times now, and each performance feels like a brief glimpse into a lost world. The original melody is sung and then braided into shimmering, shifting textures, creating a mirage-like sensation, like being on the edge of seeing or grasping something that ultimately remains elusive.“
(Eileen Mack, Software Engineer)
The Stone People CD rave: “If you’re going to make a grand piano thunder and clang, you have to be able to do it with the elegance and fervor that pianist Lisa Moore brings to the task. About half of her formidable new release is devoted to music that rolls out in big, granitic masses, including John Luther Adams’ “Tukiliit,” which gives the disc its subtitle, and Julia Wolfe’s pitiless “Compassion.” Moore renders all of it with surprising tenderness and force. But even more striking (at least to this taste) are the contrasting stretches of gentle lyricism. The overlapping, sun-dappled textures of Martin Bresnick’s “Ishi’s Song” flirt continuously with sentimentality without ever lapsing into it, and 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.” —
San Francisco Chronicle, April 3, 2016
An Earful blog writes:
Lisa Moore – The Stone People Here is someone who will delve without fear into the furthest reaches of piano music (seek out her Frederick Rzewski interpretations) and come up smiling. Her relentless curiosity and absolute commitment have served her well in assembling this album, which contains John Luther Adams’ complete music for the instrument. Two of his pieces are quite demanding, but not in the way you might think, as there are no furious runs here. It’s more about belief. And Moore believes. There’s also Kate Moore’s shamanistic Sleabh Bleagh and a memorable vignette, Orizzonte, by Missy Mazzoli, which is well worth the journey. Intriguing works by Julia Wolfe and Martin Bresnick complete a very substantial program. Maybe not for everyone, or for every mood, but you’ll never hear these pieces played better. (Jeremy Shatan, 17 July ’16)
“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
“Lisa Moore extraordinary in Fresh Sound series kickoff. Avant-garde pianist unleashes musical sensitivity and theatrical intelligence Thursday at Bread and Salt in Barrio Logan”
The San Diego Union-Tribune
Feb 5 2016