According to The New York Times,“Lisa Moore, an Australian pianist long based in and around New York, has always been a natural, compelling storyteller.” The New Yorker has crowned her “New York's queen of avant-garde piano” and TimeOut NY calls her “the wonderfully lyrical pianist.”
Lisa Moore has released 8 solo discs (on Cantaloupe, Orange Mountain Music and Tall Poppies) and over 30 collaborative discs (Sony, Nonesuch, DG, BMG, New World, ABC Classics, Albany, New Albion, Starkland and Harmonia Mundi). Her most recent solo Philip Glass disc Mad Rush (OMM) was released in January 2015. Her 9th CD, The Stone People (Cantaloupe) features solo works by John Luther Adams, Martin Bresnick, Missy Mazzoli, Kate Moore and Julia Wolfe. It will be released in February 2016.
Lisa Moore has collaborated with a large and diverse range of musicians, ensembles and artists – groups such as the London Sinfonietta, Bang on a Can All-Stars, Steve Reich Ensemble, New York City Ballet, Chamber Music Society of Lincoln Center, Australian Chamber Orchestra, Sydney Symphony Orchestra and the American Composers Orchestra. She is a member of Grand Band, Ensemble Signal, TwoSense and the Paul Dresher Double Duo. From 1992-2008 Lisa was the founding pianist for the Bang On A Can All-Stars and winner of Musical America's 2005 Ensemble of the Year Award. Lisa has worked with composers ranging from Iannis Xenakis, Elliot Carter, Philip Glass and Frederic Rzewski to Ornette Coleman, Meredith Monk, Thurston Moore, Hannah Lash and Martin Bresnick. Lisa’s festival guest appearances include Lincoln Center, BAM Next Wave, Crash Dublin, Graz, Aspen, Tanglewood, Huddersfield, Holland, Paris d'Automne, Shanghai, Beijing, Hong Kong, BBC Proms, Southbank, Uzbekistan, Leningrad, Moscow, Lithuania, Adelaide, Perth, Brisbane, Sydney, Canberra, Israel and Warsaw.
Lisa Moore grew up in Australia and London. She studied piano at the Sydney Conservatorium, the University of Illinois, Eastman School of Music and SUNY Stonybrook. Lisa won the silver medal in the 1981 Carnegie Hall International American Music Competition and moved to New York City in 1985. Lisa teaches at Wesleyan University and at Yale’s summer Norfolk New Music Workshop. She is also a regular guest at the Australian National Academy of Music in Melbourne. For more Moore please visit www.lisamoore.org
“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’s 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 Nov ‘15
‘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
“Moore is an Australian pianist, long resident in New York, though returning regularly to these shores. Her piano playing is typically crisp and clear, its power coming directly from the score. This isn’t to say that she eschews interpretation and expression. On the contrary, she has been responsible for some of the most emotionally stirring piano recitals I’ve ever heard. But, with Moore, fidelity to the score is paramount, and here, in her Glass recordings, the music is presented in sleek, pristine performances that let the notes do the talking.”
Andrew Ford Inside Story Feb ‘15
“Ishi’s Song for a sometimes-singing pianist, a joyous and spiritual piece, played beautifully here by Lisa Moore” (Anthony Tommasini, The New York Times)
“The second track, Ishi’s Song, was inspired by an actual recording of Ishi, thought to have been the last of his tribe of Yahi-Yani Indians of northern California. Ishi lived out his life at the University of California at Berkeley, and remains a beloved figure to many, especially in the San Francisco Bay Area. Ishi recorded a song he that he had been taught and it is this song that forms the basis (or cantus firmus according to the composer) of this piece for singing pianist. Lisa Moore is no stranger to the repertoire for speaking or singing pianist having recorded Frederic Rzewski’s masterful De Profundis (1992). Her talents are put to good use here in this virtuosic set of variations on the haunting tune.”
George Grella Best Classical Recordings 2014 for “Prayers Remain Forever” Bresnick CD