Lisa Moore:
Preludes, Op. 8

Release: March 01, 2018

Described as “brilliant and searching… beautiful and impassioned… lustrous at the keyboard” by The New York Times and crowned “New York’s queen of avant-garde piano” and “visionary” by The New Yorker, the celebrated pianist Lisa Moore releases her album De La Chica: Preludes, Op. 8 on March 1st 2018. The album - produced and published by independent record label Irreverence Group Music — is the Premiere Recording of the New York based Colombian composer Julián De La Chica's Preludes Op. 8 for piano and synthesizer.

Listen to Prelude Op. 8, No. 5

Preludes, Op. 8

  • Format: Album
    Release: March 01, 2018
    Catalogue: IGM-018
    GTIN/EAN/UPC: 4050215347755
    Producer: IGM

  • Lisa Moore (Piano)
    Julián De La Chica (Synth & Piano)

  • Julián De La Chica

  • Lisa Moore:
    De La Chica: 14 Preludes, Op. 8

    01. No. 1
    02. No. 2
    03. No. 3
    04. No. 4
    05. No. 5
    06. No. 6 (For four hands)
    07. No. 7
    08. No. 8
    09. No. 9
    10. No. 10
    11. No. 11
    12. No. 12
    13. No. 13
    14. No. 14

    Bonus Track

    15. Duet No. 1 (For four hands)

  • Produced by Irreverence Group Music
    Music by Julián De La Chica

    Lisa Moore (Piano)
    Julián De La Chica (Synth & Piano)

    Recorded, Mixed, and Mastered by Greg DiCrost
    at Firehouse 12, New Haven, CT
    Performed on Steinway “D” Hamburg (CD-79)
    Piano Technician: Timothy J. Robinson

    Album Notes by Susan Campos—Fonseca
    Artwork/Cover: IGM
    Photography by Hassan Malik
    Video by Mario Rubén Carrión &
    Jorge Salinas (New Visual Collective)

    Julián De La Chica’s music is published
    by Vagabundo Music Publishing, Inc. (BMI)
    Manufactured and marketed by
    Irreverence Group Music (Brooklyn, NY)
    Made in US. Total time: 75 min
    Ⓟ & © 2018 IGM

Music NOTES

Open, warm, inviting, beguiling. Julián’s music is unique and beautiful. He stretches time. Clear, simple, tender melodies line the air, sculpting edges across open harmonic spaces.
— Lisa Moore.

Lisa Moore's repertoire and discography include a wide range of piano literature, from baroque to modern - where experimental music, minimalism, and post-minimalism play a important role. Her oeuvre continues to grow with the addition of this album, dedicated to New York—based Colombian composer Julián De La Chica’s Preludes Op. 8 for piano and synthesizer.

These 14 preludes are an example of “sensorial—minimalism” and perhaps they are a continuation of the composer's exploration in his two recent cycles: the piano cycle Op. 5, Nocturnal & Circular Images (performed by the composer himself), and the song cycle Op. 9, Experimentelle und Unbestimmte Lieder, for soprano, piano and synthesizer (recorded by American soprano Rachel Hippert). In these works, and his piano Preludes, Mr. De La Chica organically oscillates between post-minimal and ambient music.

Julián De La Chica
Photo by Hassan Malik

With the constant evolution of music, each epoch engenders new bodies of both performers and audience. In this album, Moore presents a form of piano art that challenges itself and views virtuosity as a technical practice guided by the search for sound. The repertoire ultimately becomes a way to forge the pianist’s body and way of listening, and it evolves side by side with the creation of sound in time.

Every new school exists because it engages in a dialogue with tradition. Italian pianist and musicologist Luca Chiantore reminds us, for instance, that “what is modern about Beethoven’s research is that which the music score does not say: a reflection of the physiological components of the performance, the equilibrium of forces that the performer establishes with the keyboards, something that can also be produced in pages of great simplicity” (Beethoven al piano, 2010). I daresay, without a trace of historiographical reserve, that Lisa Moore’s work exemplifies that dialogue between exploration and the rigorous development of traditional performance practice.

Julián De La Chica’s Preludes Op. 8 for piano and synthesizer were composed in New York City between 2015 and 2017. About these works, the author says: “The Op. 8 cycle is a process that improvises the image that is absent. The hidden image creates emotion, truth and reality… The Preludes are an exploration of another kind of virtuosity... the virtue of sound. What lies behind, what we do not see.” 

Lisa Moore & Julián De La Chica
Photo by Hassan Malik

Lisa was transfigured in that image that is not there, that we do not see, but that exists ... she has the maturity and the vision to do it.
— Julián De La Chica.

The composer proposes ideas, then Moore’s performance creates a dialogue between those ideas and her performance and sound development. Essentially, what the score does not say, exists in Lisa Moore’s unique sound as a pianist, and is what invites us to listen to these Preludes within our living time. 

Susan Campos—Fonseca, PhD
Musicologist and composer

About the Author

Campos-Fonseca holds a Ph.D. in music from the Universidad Autónoma de Madrid (UAM), Spain. Master in Spanish and Latin American Philosophy from the Universidad Autónoma de Madrid (UAM), and graduated in Conducting by the Universidad de Costa Rica (UCR). She is a composer and musicologist whose research focuses on philosophy of culture and technology, feminism, decolonial studies, electronic art and sound studies.

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