Performance Friday, March 23, 2012 | 8 PM

Neighborhood Concert: Lisa Moore, Solo Piano

American Beserk

LaGuardia Performing Arts Center
To see Lisa Moore perform is to be ushered into a world of mesmerizing theatricality and compelling emotional power. “New York’s queen of avant-garde piano” (The New Yorker), Moore is an Australian long based in and around New York, carving a niche for herself in the city’s vibrant new music scene. She was the founding pianist for the revolutionary and wildly entertaining ensemble Bang on a Can All-Stars, and has collaborated with the world’s most famous composers, including Iannis Xenakis, Elliott Carter, Ornette Coleman, and Meredith Monk.

This concert is part of American Mavericks, a citywide celebration of the pioneers of the American sound, presented by Carnegie Hall and San Francisco Symphony. Visit for more information.
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Artist Note

 I am absolutely thrilled to present American Berserk in the Carnegie Hall Neighborhood Concerts series. It’s a one-off event featuring the wilder, dramatic side of piano music written by some of America’s extreme talent: These composers are American mavericks—our musical inventors and cultural icons. American Berserk shares its title with John Adams’s treacherous konzertstück —a riff on stride and boogie-woogie that heads off the charts. Phillip Glass’s classic piece Mad Rush features fluid running piano lines that juxtapose moments of extreme calm with explosive outbursts of emotion. Don Byron’s piano etudes are tuneful, funny, poignant, and pointed. Martin Bresnick’s virtuosic blues Willie’s Way blends together Brahms, Willie Dixon’s Spoonful, and Cream’s Wheels of Fire Fillmore Theater rendition. Henry Cowell’s Aeolian Harp strums a hymn from the inside of the piano, creating an unearthly aura. Missy Mazzoli’s Orizzonte blends single piano notes with an eerie back-up track of ambient horns and nostalgic crackles. Jerome Kitzke’s Bringing Roses with Her Words requires me to act, scream, and perform a mad scene in Jerome’s private language of songs inspired by the American Indian. For dessert, we have Frederic Rzewski’s Piano Piece No. 4, which starts beating up in the top register and then cascades down, erupting into an enveloping resonance. A Chilean folk melody emerges and transforms into a protest piece of power and beauty.

—Lisa Moore

Sponsored by
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The National Endowment for the Arts is the lead donor of American Mavericks at Carnegie Hall.
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This performance is part of American Mavericks.

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