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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 a 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.

• What people say about the album

• Press links

De La Chica, 14 Preludes Op. 8

Artists:

Lisa Moore (Piano)

Composer: Julián De La Chica

​Format: Album
Release: March 01, 2018
Catalogue: Irreverence Group Music IGM-018
GTIN/EAN/UPC: 4050215347755
Producer: IGM

​Tracks

​Lisa Moore: De La Chica, Preludes Op. 8

​01. 14 Preludes, Op. 8: No. 1
02. 14 Preludes, Op. 8: No. 2
03. 14 Preludes, Op. 8: No. 3
04. 14 Preludes, Op. 8: No. 4
05. 14 Preludes, Op. 8: No. 5
06. 14 Preludes, Op. 8: No. 6 (For Four Hands | feat. Julián De La Chica)
07. 14 Preludes, Op. 8: No. 7
08. 14 Preludes, Op. 8: No. 8
09. 14 Preludes, Op. 8: No. 9
10. 14 Preludes, Op. 8: No. 10
11. 14 Preludes, Op. 8: No. 11
12. 14 Preludes, Op. 8: No. 12
13. 14 Preludes, Op. 8: No. 13
14. 14 Preludes, Op. 8: No. 14​

Bonus Track

15. Duet No. 1 (For Four Hands | feat. Julián De La Chica)

Album Notes
—

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: Nocturnal & Circular Images Op. 5 for piano (performed by the composer himself), and Experimentelle und Unbestimmte Lieder Op. 9 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.

With the constant evolution of music, each epoch engenders new bodies of both performers and audience. In this album, Ms. 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.” 

The composer proposes ideas, then Lisa 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

Behind the Scenes
the video
—

Don't miss the album recording's Behind the scenes and the exclusive conversation with celebrated pianist Lisa Moore and watch some of the most stunning moments of her performance.

"Open, warm, inviting, beguiling. Julian’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 &
Julian De La Chica
Prelude Op. 8 No. 13
—

“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

Credits
—

Produced by Irreverence Group Music (IGM)
Music by Julián De La Chica

Lisa Moore - Piano
Julián de la Chica - Synthesizer

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

Program Notes by Susan Campos - Fonseca
Cover design by Lina Gracia
Photography by Hassan Malik

Video by Mario Rubén Carrión y
Jorge Salinas (New Visual Collective)
Executive producers for IGM
Miguel Mourato Gordo and Julián De La Chica

​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 | IGM - 018
Ⓟ and Ⓒ  2018 IGM

Press Links
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• Preludes Op. 8 listed on The New Yorker Magazine

• Interview with Lisa Moore by CutCommon Magazine

• Review by Rosa Gollan - New Sounds | New York Public Radio WNYC

• Review by Stephen Mould | Loud Mouth | Music Trust

Preludes Op. 8 listener comments:

• “I listened last night and LOVED IT! I found the preludes very soothing and calming. I admire the ability to control the tone even in very slow tempo which is much more difficult than when playing fast. And the gorgeous sound. The preludes reminded me of Arvo Part’s music.”

  — Krystyna Schenker

• “They are beautiful! Mesmerizing and comforting and the playing is gorgeous. I was in a particularly grumpy mood this morning and then I started the CD. Immediately I felt better… my attention went to the sounds and the time between them and the pitches. Thank you!”

  — Rebecca Raffaelli

• “They were catching something tender in a fresh kind of way... I just loved the peaceful leanings of the works... the synth/piano sound combo was often exquisite and touching.”

  — Jerome Kitzke