Thomas Moore, a specialist in contemporary piano music, has earned acclaim throughout the United States and Europe for his performances, lectures and recordings.
Moore is a respected interpreter of the music of John Cage, who wrote, “I am delighted that Thomas Moore plays my music, studies and thinks, writes and talks about it. He is an excellent musician, one in whom I have confidence and whose work I enjoy.”
Moores solo piano recordings of pieces by Robert Gibson and Stuart Saunders Smith have been warmly received by the press. William Zagorski of Fanfare called Gibsons Chamber Music one of the top five releases of 1996, and Kyle Gann recommended Smiths Crux (1992) and Wind in the Channel (1997) in the selective Village Voice Consumer Guide. In 1982 Moore won the Grand Prize of the International Piano Recording Competition for his recording of George Crumbs Makrokosmos, Volume I, described by the jury as “Stunning, alive, intelligent and imaginative, transcending accuracy to and dedication to the score, becoming a truly theatrical and musical experience.”
Thomas Moores repertoire includes major works by John Cage, George Crumb, Thomas DeLio, Morton Feldman, Wesley Fuller, Robert Gibson, Philip Glass, Charles Ives, Olivier Messiaen, Erik Satie, Stuart Saunders Smith, Karlheinz Stockhausen, Christian Wolff, Iannis Xenakis, Yehuda Yannay and others. DeLio has called Moore, “An outstanding pianist whose sensitivity and intelligence shine through each of his performancestruly exceptional.”
In the 1970s and 80s, Moore produced weekly programs on new music for public radio stations in the Baltimore-Washington area (beginning at the lengendary WGTB-FM) that featured interviews with composers Robert Ashley, David Behrman, John Cage, Morton Feldman, Philip Glass, Alvin Lucier, Conlon Nancarrow, Pauline Oliveros, Steve Reich, Roger Reynolds, David Tudor, and others. Moores conversations with Cage and Feldman appeared in the journal Sonus; the Cage interview was excerpted in Perspectives of New Music and Conversing with Cage and the Feldman interview was republished in 2006 in Morton Feldman Says. Thomas Moore was also assistant producer of the feature film Endgame, featuring the San Quentin Drama Workshop, part of the Beckett Directs Beckett series published by the Smithsonian Institution Press.
In recent years Thomas Moore has collaborated with choreographer Robert Ellis Dunn (founder of the Judson Dance Theater); poet and essayist Joan Retallack; percussionist Tom Goldstein; visual artist Bill Seaman; composer Andrew Culver, with whom he was an artist in residence at the Yellow Springs Institute; For Tomorrow/Ich hoff’ auf morgen: The Story and Poetry of Hilda Stern Cohen; and the ensemble Relâche, with which he staged a performance of Erik Saties Vexations in Philadelphia on the anniversary of John Cage’s 90th birthday in 2002.
Thomas Moore is Director of Arts and Culture in the Office of Institutional Advancement at UMBC (University of Maryland, Baltimore County).
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Photo credit: Richard Anderson