“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)

“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”
(Inside Story - Andrew Ford)

Gramophone Review!
“Too many Glass recordings? Moore’s disc more than argues its case for inclusion...What becomes abundantly clear from listening to almost any bar on this recording is Moore’s highly developed, intuitive and nuanced approach to this music, one which has been allowed to evolve and refine over a number of years”

“Ishi’s Song, for singing pianist, takes its cue from the song sung by the last remaining Yahi Native American and is both powerfully and sensitively played by Lisa Moore”
(Gramophone - Jed Distler Jan 2015)

“Ishi’s Song” for a sometimes-singing pianist, a joyous and spiritual piece, played beautifully here by Lisa Moore.
(New York Times, Feb 4, ‘15 - Tommasini)

“Scrambling, darting across her keyboard, Moore comes out of the deepest octaves with a fretful energy that you might understand as our resistance, our denial, our utter incapability of handling a question so big as life and death.”
(Thought Catalog - Porter Anderson)

"This is, once again, industrial music for its own sake, Lisa Moore belching out the extremes of the piano’s textural, timbral potential, as if presaging the imminence of the atomic age...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. Plucked, scratched piano strings evoke the brittleness of bone, and electric sonic distortion can point either to a dystopic future or, more likely, to the lost innocence of early modernity."
by Rob Wendt (I Care If You Listen www.icareifyoulisten.com/)

"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."
by Jeremy Beck (www.icareifyoulisten.com) www.cantaloupemusic.com

"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."
by 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."
by Grego Gapplegate Edwards (classicalmodernmusic.blogspot.com)

"Pianist Lisa Moore performs with great technique and a moody sensitivity when called for..."
by Daniel Coombs, (contemporary clarinet guy) blog for Amazon (5 stars!)

"Moore brings to bear the whole of her own varied experience. In her undeniable chops we can hear the rigid discipline that came with her classical training, while the avant-gardist and the jazzer in her can be heard in her willingness to leap into the fray with unconventional harmonies and still bring an organic flow to even the most challenging piece."
See the whole review at Limewire

"De Profundis sounds as revelatory as ever in pianist Lisa Moore's brilliant new recording..."Dreadful Memories" in particular, is soft edged and tender enough to elicit tears..." San Francisco Chronicle

"Moore tore into Frederic Rzewski's "Winnsboro Cotton Mill Blues" with potency and abandon, shaping the piece as effectively in concert as on her recent disc..." Musical America.com

"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

"...this disc contains powerfully intense performances...Moore's playing reveals a total and implicit understanding of its purposes..." MCA Music Forum

"...among my favourite recordings...Moore's disc sits very easily in their company, indeed it combines the best of approaches...there is a greater rhythmic tension....the piano sound is rich and natural..." ABC Radio 24 Hours

"...anthology of recent Australian piano music...she plays with conviction and enthusiasm.." Sydney Morning Herald

"wed, a five-minute piece played with an ideal and elusive combination of delicacy and incisiveness by BOAC piano goddess Lisa Moore, is the best thing about this release. There is a gentle discord in everything here: gentle rhythmic displacements and polyrhythms; notes gently added to otherwise triadic, pop-laced chord progressions; gentle dislocations of register within a restricted frame." Sequenza21

“Wendy Sutter’s cello and Lisa Moore”s piano blend exceptionally well and their deep sonority on ‘Eugene’ thrills.” www.allaboutjazz.com

"...Pereira has a fine partner in Lisa Moore;her playing is throughout flawless and their view of both works is in perfect accord..." the Strad