Described as "beautiful and impassioned" by The New York Times Lisa Moore's playing combines music, theatre and expressive, emotional power - whether in the delivery of the simplest song, a solo recital or the most challenging chamber score. Crowned "New York's queen of avant-garde piano" and "visionary" (The New Yorker) this Australian virtuoso pianist has performed with a large and diverse range of musicians - the London Sinfonietta, New York City Ballet, Chamber Music Society of Lincoln Center, Bargemusic, Bang on a Can All-Stars, TwoSense, Le Train Bleu, Steve Reich Ensemble, So Percussion, Don Byron Adventurers Orchestra, Signal, Third Coast Percussion, Da Capo Chamber Players, Paul Dresher Double Duo, Eighth Blackbird, American Composers Orchestra, Mabou Mines Theater, Susan Marshall Dance, Sequitur, Newband, Music at the Anthology, The Crosstown Ensemble, St. Lukes Orchestra, Australia Ensemble, Westchester Philharmonic, New York League of Composers ISCM, Newband, Alpha Centauri Ensemble, Terra Australis, Essential Music, and the John Jasperse Dance Company.
Described as "lustrous at the keyboard" (New York Times) one of Lisa's most recent ventures is the formation of TwoSense a commissioning duo and concert series with cellist Ashley Bathgate, dedicated to expanding the chamber music repertoire. As a concerto soloist Lisa has appeared with the London Sinfonietta, Australian Chamber Orchestra, Wesleyan Orchestra and Sumarsam Gamelan, Albany, Sydney, Tasmania, Thai and Canberra Symphony Orchestras, Philharmonia Virtuosi and the Queensland Philharmonic - under the batons of Brad Lubman, Reinbert de Leeuw, Pierre Boulez, Jorge Mester, Angel Gil-Ordonez and Edo de Waart.
Lisa Moore has released 6 solo discs featuring music ranging from Leos Janacek to Frederic Rzewski (Cantaloupe Music, Tall Poppies) and over 30 collaborative discs (Sony, Nonesuch, DG, CRI, BMG, Point, New World, ABC Classics, Albany, New Albion). Her most recent Cantaloupe solo (Oct 2011) recording presents original solo music by Annie Gosfield and Martin Bresnick's Caprichos Enfaticos with So Percussion.
In 1981 Lisa Moore won the silver medal in the Rockefeller Carnegie Hall International American Music Competition. She moved to New York in 1985 and from 1992-2008 she was the founding pianist for the Bang On A Can All-Stars - the New York based electro-acoustic sextet and winner of Musical America's 2005 Ensemble of the Year Award. Lisa Moore is passionately dedicated to the music of our time as well as the great musical canon, having collaborated with composers from many musical genres such as -- Elliot Carter, Iannis Xenakis, Meredith Monk, Phillip Glass, Elena Kats-Chernin, Thurston Moore and Ornette Coleman. Her repertoire moves between Robert Schumann, Leos Janacek, Modeste Mussorgsky, Gyorgy Ligeti and Randy Newman, Rufus Wainwright, Frederic Rzewski - and, at times, even Kurt Schwitters. Past solo shows include ipiano: my brilliant career, Wilde's World, the totally wired piano, Janacek - from the street and Musically Speaking.
She has performed in La Scala, the Musikverein, the Sydney Opera House, Carnegie Hall and the Royal Albert Hall and has made guest appearances at festivals such as the Holland, Lincoln Center, Schleswig-Holstein, BBC Proms, Israel, Warsaw, Uzbekistan, Musica Ficta Lithuania, Prague Spring, Istanbul, Athens, Taormina, Southbank's Meltdown, Dublin's Crash, Graz, Huddersfield, Scotia, Paris d'Automne, Shanghai, Beijing, Hong Kong, Turin, Palermo, Barcelona, Heidelberg, Berlin, Perugia, Tanglewood, Sundance Institute, Houston Da Camera, Jacob's Pillow, Aspen, Norfolk, Sandpoint, Saratoga, Victoriaville, Ojai, Other Minds, NY's Sonic Boom, BAM Next Wave, MassMoca, Bang on a Can, Keys to the Future, Healing The Divide, Mizzou, Music 10 Blonay, Adelaide, Perth, Queensland, Canberra, Sydney, Sydney's Olympic Arts, Sydney Spring, Sydney Mostly Mozart, Brisbane Biennale, and the Darwin Festival. As an artistic curator Moore produced Australia's Canberra International Music Festival 2008 Sounds Alive series, importing musicians from around the world for 10 days of concerts at the Street Theatre.
Apart from teaching at Wesleyan University and at the Yale-Norfolk Festival New Music Workshop Lisa makes guest teaching appearances at conservatories around the world. She was born in Canberra and raised in Australia and London before moving to the USA in 1980. Moore is a graduate of the University of Illinois, Eastman School of Music and SUNY Stonybrook. Her past teachers include Gilbert Kalish, Yvonne Loriod and Albert Landa.
For more Moore please visit www.lisamoore.org.
On Lightning Slingers and Dead Ringers: "Moore turns the duet between sampler and Steinway into an intriguing dialectic. While the former produces a tightly-structured temporal space, she employs the latter to reclaim a more personal psychic space with agogic flexibility and liberal use of rubato." - Rob Wendt, Icareifyoulisten.com (October 2011)
On Caprichos Enfaticos: "Ms. Moore plays spiritedly and the rhythmic versus a-rhythmic elements balance nicely in her hands" - Grego Gapplegate Edward, classicalmodernmusic.blogspot.com (November 2011)
Jayson Greene of eMusic writes about Seven here. (January, 2010)
"Pianist Lisa Moore's rendition of Annie Gosfield's 'Lightning Slingers and Dead Ringers,' in its U.S. premiere [at the 2008 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, Musical America (July, 2008)
"The pianist Lisa Moore's commission was a set of 'Seven Etudes' by Don Byron, who moved easily between languages, touching on blues and jazz figures, dense atonal harmonies and complex polyrhythms, posing technical challenges that Ms. Moore met confidently. There was humor as well. In one etude, Ms. Moore supplied antic vocals; another required grunts and clapping from the audience."
-Allan Kozinn, New York Times (March, 2008)
"Pianist Lisa Moore bestowed her ferocious technical skills and interpretive brilliance on two piano pieces by Elena Kats-Chernin..."
-Josh Kosman, San Francisco Chronicle (March, 2008)
"Most impressive was Australia pianist and would-be contortionist Lisa Moore, who, while engaged in traditional ivory tickling, also slapped, stomped, vocalized and narrated."
-Phillip Ratliff, Birmingham (AL) News (February, 2008)
"I wasn't as impressed as I was by Lisa Moore's range of expressivity on both 'The Dream of the Lost Traveller' (composed by her husband Martin Bresnick, based on a poem by Blake) and 'Piano Piece No. 4' by Frederic Rzewski (protesting the Pinochet regime, with thunder and hope). Moore is pianist for the Bang on a Can All-Stars, but alone truly distinguished herself."
-Howard Mandel, www.artsjournal.com (January, 2008)
"Frederic Rzewski's 'Piano Piece No. 4' begins with a Minimalist gesture: a repeated note that morphs into a relentless pounding chord before abandoning the repetition and expanding towards both ends of the keyboard. Lisa Moore gave it an explosive, muscular performance and did much the same for Martin Bresnick's 'Dream of the Lost Traveller,' a brawny work with a mystical core, courtesy of a Blake text (from For the Sexes: The Gates of Paradise), which Moore sang."
-Allan Kozinn, New York Times (January, 2008)