The Weekend Australian - Review - - Music Reviews - Vin­cent Plush

Philip Glass: Mad Rush Lisa Moore Or­ange Moun­tain

Fes­ti­val direc­tors love com­poser-pi­anists. Pun­ters go in droves, ex­pect­ing the con­tem­po­rary equiv­a­lents of Liszt, Chopin or Rach­mani­nov. Mostly, they leave dis­ap­pointed. How for­tu­nate is Philip Glass in hav­ing pi­anist Lisa Moore as an ad­vo­cate of his mu­sic. Aus­tralian-born, but long-time res­i­dent of New York, she brings to his fa­mil­iar pat­terns and roulades the tech­nique and sen­si­tiv­ity of the con­sum­mate pro­fes­sional. Moore be­stows new in­sights on those frag­ile pat­terns through sub­tle gra­da­tions of dy­nam­ics, slight pulling back of tempo and clearly de­fined cross-rhythms of su­per­im­posed lay­ers. All emerge with nearper­fect clar­ity on a close-miked Stein­way CD-79 pi­ano, but sound­ing a lit­tle thin at both ends of the key­board. Moore drills into the work­ing ap­pa­ra­tuses of Glass’s pro­cesses and makes them sound fresh and un­re­mark­able. They no longer sound like im­pro­vi­sa­tions, no mat­ter how con­trolled and con­trived they may seem. Forty years af­ter the first ap­pear­ance of Ein­stein on the Beach, Glass’s pro­cesses have passed into the lin­gua franca of con­tem­po­rary mu­sic. In Moore’s mus­cu­lar hands and elo­quent fin­gers, this mu­sic be­comes poetry, finely nu­anced, at times even thrilling.

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