A solo concert by Lisa Moore as a pianist is an unforgettable event embedded in my memory for its vibrant lively sounds and transformational atmosphere. Her Mad Rush performance in 2016 in New York’s included Mad Rush, Piano Etudes no.5, 7 and 9, Metamorphosis 1-5, and Satyagraha Act III Conclusion by Philip Glass. That performance left a deep imprint on my memory. The piano sounded incredibly touching and melodic.
The atmosphere in the hall was so mysterious and enchanting that it seemed as if we all suddenly found ourselves in the medieval era. Before, I had only heard professional piano playing on record, but that day I was lucky enough to find out the true magic of this instrument, especially when such a talented woman played the instrument masterfully. The piano music of Philip Glass is mesmerizing, immortal, clear and excellent. As an entertainer the opportunities for making tones in Philip’s music are endless since his tunes, resonant harmonies and formal designs permit space for singular translation and articulation. Great performance also requires a lot of deep thought, not just perfect mastery of the keyboard. Lisa Moore managed to make this piece a part of herself.
The first work, Mad Rush, of its main formative principle is the repetition of one or two motives which are usually some melodic figures against the background of regular rhythmic pulsation, which is close to the rhythm of rock music, hence the hypnotic, psychedelic effects on its perception. It forms some sound patterns and patterns that prompt us to make unconscious predictions about what will happen next. In case people are right, the brain gives itself a small reward in the form of the release of dopamine (Agres et al., 2017). Thus, the constant maneuvering of the brain between musical expectation and the result enlivens it with a pleasant play of emotions (Agres et al., 2017). The strategies, for example, including rehashed, long arpeggios, rhythmical beat designs, utilizing distinctive mood designs together, utilizing various procedures while using limited examples or expressions are among the trademark highlights. One could feel the integrity, natural flow, strength, and grace of each note.
The succession of pieces is the solid point. Moore starts with the title track, from 1979, addressing the early, moderate Glass. The remainder of the collection, except for the Etudes which have connections to Glass’ dramatic or coincidental music and fills in as a decent focal point through which to mull over how the progressions in Glass’ melodic language as his vocation advanced were drastically propelled. During the five-development Metamorphosis, Glass’ music got not more melodic but rather more gestural, a key to its later turn of events. The Satyagraha Conclusion, Act III, and particularly the Closing, increase the pressure to a more elevated level, and the whole program has a delightful circular segment. At first glance, the sound of notes seemed monotonous while it has many shades in reality.
Lisa Moore’s solo piano concert in New York was a memorable evening where she depicted and transformed the works of Philip Glass. Each note awakened in the performer a kind of musical awareness of the true artistic mission. Her mastery of the instrument made it possible to create very gentle music capable of touching the deepest strings of the soul. That is why, while listening to such compositions, tears appeared in my eyes.
Reference
Agres, K., Herremans, D., Bigo, L., & Conklin, D. (2017). Harmonic Structure Predicts the Enjoyment of Uplifting Trance Music.Frontiers in Psychology, 7. Web.
Appendix A
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Appendix B
Demographic Information for Cummings et al. (2002)’s Review
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