Eric Moe

Eric Moe's music has been variously described as "maximal minimalism", "Rachmaninoff in hell", and "music of winning exuberance". Although the surfaces and genres are varied, his works share a concern for rhythmic propulsion and a disregard for stylistic orthodoxies. Sometimes tonal, sometimes not, harmony (generally crunchy) and melody (often angular) play privileged roles in his work.

Active as a pianist and keyboard player, Moe writes music he enjoys playing, and otherwise plays music he wishes he'd written. Mr. Moe is represented by Howard Stokar Management.

Eric Moe (b. 1954), composer of what the NY Times has called “music of winning exuberance,” has received numerous grants and awards for his work, including the Lakond Award from the American Academy of Arts and Letters and a Guggenheim Fellowship; commissions from the Pittsburgh Symphony Orchestra, the Fromm Foundation, the Koussevitzky Foundation, the Barlow Endowment, Meet-the-Composer USA, and New Music USA; fellowships from the Wellesley Composer's Conference and the Pennsylvania Council on the Arts; and residencies at the MacDowell Colony, Yaddo, Bellagio, the Virginia Center for the Creative Arts, the UCross Foundation, the Camargo Foundation, the Aaron Copland House, the Millay Colony, the Ragdale Foundation, the Montana Artists Refuge, the Carson McCullers Center for Writers and Musicians, the Hambidge Center, and the American Dance Festival, among others.

Tri-Stan, his sit-trag/one-woman opera on a text by David Foster Wallace, premiered by Sequitur in 2005, was hailed by the New York Times as “a blockbuster” and “a tour de force,” a work of “inspired weight” that “subversively inscribe[s] classical music into pop culture.” In its review of the piece, the Pittsburgh Post-Gazette concluded, “it is one of those rare works that transcends the cultural divide while still being rooted in both sides.” The work is available on a Koch International Classics compact disc. Strange Exclaiming Music, a CD featuring Moe’s recent chamber music, was released by Naxos in July 2009 as part of their American Classics series; Fanfare magazine described it as “wonderfully inventive, often joyful, occasionally melancholy, highly rhythmic, frequently irreverent, absolutely eclectic, and always high-octane music.” Kick & Ride, on the bmop/sound label, was picked by WQXR for album of the week: “…it’s completely easy to succumb to the beats and rhythms that come out of Moe’s fantastical imaginarium, a headspace that ties together the free-flowing atonality of Alban Berg with the guttural rumblings of Samuel Barber’s Medea, adding in a healthy dose of superhuman strength.” Other all-Moe CDs are available on New World Records (Meanwhile Back At The Ranch), Albany Records (Kicking and Screaming, Up & At ‘Em, Siren Songs), and Centaur (On the Tip of My Tongue). The Sienese Shredder, a fine arts journal, includes an all-Moe CD as part of its third issue.

As a pianist and keyboardist, Moe has premiered and performed works by a wide variety of composers. His playing can be heard on the Koch, CRI, Mode, Albany, New World Records and Innova labels in the music of John Cage, Roger Zahab, Marc-Antonio Consoli, Mathew Rosenblum, Jay Reise, Ezra Sims, David Keberle, Felix Draeseke, and many others in addition to his own. His solo recording The Waltz Project Revisited - New Waltzes for Piano, a CD of waltzes for piano by two generations of American composers, was released in 2004 on Albany. Gramophone magazine said of the CD, “Moe’s command of the varied styles is nothing short of remarkable.” A founding member of the San Francisco-based EARPLAY ensemble, he currently co-directs the Music on the Edge new music concert series in Pittsburgh.

Moe studied composition at Princeton University (A.B.) and at the University of California at Berkeley (M.A., Ph.D.). He is currently the Andrew W. Mellon Professor of Composition and Theory at the University of Pittsburgh and has held visiting professorships at Princeton University and the University of Pennsylvania.

Compositions

Filter By Type

Filter By instrument

Name

Year

Type

Instrumentation

Dur.

Play

More

FIERCE LAMENT

2002

Orchestra/large ensemble

A chamber orchestra 2-2-2-2/2-2-1-1/1 perc, pno/strings

8'

Tk all additional info here including commissioners, performance info, reviews, links to video, etc.
Sed quo berit, ipsunt. Sedit lata si sim aut iur? Modiciis molupta quaspel inim adipsapite volorerio cupit aut que molupta quidendam velibus modis cor sit voluptur atatio. Aciae. Nam quiam faccaec tiasit faccum acearciduci audae consent eum.

TIME, A MANIAC SCATTERING DUST

1999

Ensemble, Wind ensemble

Wind ensemble

3'45''

Tk all additional info here including commissioners, performance info, reviews, links to video, etc.
Sed quo berit, ipsunt. Sedit lata si sim aut iur? Modiciis molupta quaspel inim adipsapite volorerio cupit aut que molupta quidendam velibus modis cor sit voluptur atatio. Aciae. Nam quiam faccaec tiasit faccum acearciduci audae consent eum.

FIERCE LAMENT

2002

The Orchestra/large ensemble

The chamber orchestra 2-2-2-2/2-2-1-1/1 perc, pno/strings

8'21''

Tk all additional info here including commissioners, performance info, reviews, links to video, etc.
Sed quo berit, ipsunt. Sedit lata si sim aut iur? Modiciis molupta quaspel inim adipsapite volorerio cupit aut que molupta quidendam velibus modis cor sit voluptur atatio. Aciae. Nam quiam faccaec tiasit faccum acearciduci audae consent eum.

TIME, A MANIAC SCATTERING DUST

1999

This Orchestra/large ensemble, Wind ensemble

Piano wind ensemble

3'

Tk all additional info here including commissioners, performance info, reviews, links to video, etc.
Sed quo berit, ipsunt. Sedit lata si sim aut iur? Modiciis molupta quaspel inim adipsapite volorerio cupit aut que molupta quidendam velibus modis cor sit voluptur atatio. Aciae. Nam quiam faccaec tiasit faccum acearciduci audae consent eum.

NO TIME LIKE THE PRESENT

2012

Flute Orchestra/large ensemble

Harpa orchestra 3-3-3-3/4-3-3-1/3 perc, timp, pno, hrp/strngs

5'

Tk all additional info here including commissioners, performance info, reviews, links to video, etc.
Sed quo berit, ipsunt. Sedit lata si sim aut iur? Modiciis molupta quaspel inim adipsapite volorerio cupit aut que molupta quidendam velibus modis cor sit voluptur atatio. Aciae. Nam quiam faccaec tiasit faccum acearciduci audae consent eum.

FIERCE LAMENT

2002

Orchestra/large ensemble

Percursion chamber orchestra 2-2-2-2/2-2-1-1/1 perc, pno/strings

8'

Tk all additional info here including commissioners, performance info, reviews, links to video, etc.
Sed quo berit, ipsunt. Sedit lata si sim aut iur? Modiciis molupta quaspel inim adipsapite volorerio cupit aut que molupta quidendam velibus modis cor sit voluptur atatio. Aciae. Nam quiam faccaec tiasit faccum acearciduci audae consent eum.

TIME, A MANIAC SCATTERING DUST

1999

Orchestra/large ensemble, Wind ensemble

Ensemble wind ensemble

3'

Tk all additional info here including commissioners, performance info, reviews, links to video, etc.
Sed quo berit, ipsunt. Sedit lata si sim aut iur? Modiciis molupta quaspel inim adipsapite volorerio cupit aut que molupta quidendam velibus modis cor sit voluptur atatio. Aciae. Nam quiam faccaec tiasit faccum acearciduci audae consent eum.

NO TIME LIKE THE PRESENT

2012

Large ensemble

perc, timp, pno, hrp/strngs

5'

Tk all additional info here including commissioners, performance info, reviews, links to video, etc.
Sed quo berit, ipsunt. Sedit lata si sim aut iur? Modiciis molupta quaspel inim adipsapite volorerio cupit aut que molupta quidendam velibus modis cor sit voluptur atatio. Aciae. Nam quiam faccaec tiasit faccum acearciduci audae consent eum.

Discography
Albums

2019

Uncanny Affable Machines

2018

Of Color Braided All Desire

2017

Meanwhile Back at the Ranch

2016

Kick & Ride

2015

Strange Exclaiming Music

2014

TRI-STAN

2013

Siren Songs

2016

Kick & Ride

2015

Strange Exclaiming Music

2014

TRI-STAN

2013

Siren Songs

Compilations

1996

Speculum Musicae

1995

Lions Gate Trio

1993

Time, A Maniac Scattering Dust

1992

Lions Gate Trio

1990

Time, A Maniac Scattering Dust

Eric moe
uncanny affable machines

New Focus Records (FCR212)

1: Cross Chop
Paul Vaillancourt, percussion

2: Uncanny Affable Machines
Jessica Mweyer, viola

3: And No Birds Sing
Eric Moe, keyboard

4: The Sun Beats the Mountain Like a Drum
Yihan Chen, pipa

5: Cross Chop
Paul Vaillancourt, percussion

6: Uncanny Affable Machines
Jessica Mweyer, viola

7: And No Birds Sing
Eric Moe, keyboard

8: The Sun Beats the Mountain Like a Drum
Yihan Chen, pipa

More info

Stephen Hicken, American Record Guide
July/August 1997

Eric Moe's music adroitly navigates the border between humor and seriousness, crossing the frontier at will, often without incident. On the Tip of My Tongue is an entertaining an exciting set of studies for bass clarinet and synthesizer veering effortlessly between pop vitality and modernist exploration. Tim Smith gives a wonderful performance of the very difficult bass clarinet part. O Vos Omnes is a solemn, closely argued piece for vocal quartet (on a text from the Lamentations of Jeremiah) with beautiful, slow-moving counterpoint. The Bellefield Singers have a great sound and complete mastery of Moe's idiom. riprap, for flute, cello, percussion and piano, is a collection of lively blocks of scherzo-like material held together by sheer compositional force of will. Sad Steps, for oboe and piano, is another retelling of the Orpheus legend, concentrating on the tragic ending, with the oboe playing the roles of Orpheus himself as well as the mourners. The oboe writing is reminiscent of Elliott Carter's Oboe Concerto, with its supple lines and frequent trilling. Moe conceives of this piece as a lament for "the present condition of art music; voices that can make trees dance and rocks weep are being drowned out with negligent ease". Fancy Footwork is a light-hearted (but hardly shallow) companion piece to Sad Steps, and is part of Moe's own efforts to fight the conditions so dramatically outlined in that piece. Both of these pieces are given excellent performances by Marcia Butler, for whom they were composed, with the composer at the piano. Songs and Dances of the Automobile (FM synthesis) are, in the composer's words, gritty and humorous tributes to America's obsession with the car. Moe uses synthesis with artistry and sensitivity, the technology at his command, instead [of] the music being driven by the technology - as is often the case in music using rapidly developing digital instruments. Moe is a fine composer, and I look forward to hearing more of his music. - Stephen Hicken, American Record Guide, July/August 1997

News
UPCOMING
THE COLOR OF THERE SEEN FROM HERE

The Color Of There Seen From Here is a twenty-five minute multimedia artwork, a collaboration between visual artist Barbara Weissberger and composer Eric Moe commissioned by Electric Earth Concets.

Presented by Electric Earth Concerts, July 11, 2019, The Monadnock Center, New Hampshire Presented by Ciompi Quartet, Tuesday July 9, 2019, Duke University

Posted: 00.00.00

NEW CD!

Visit the New Focus Recordings page to hear clips and purchase CD

Posted: 00.00.00

UPCOMING
THE COLOR OF THERE SEEN FROM HERE

The Color Of There Seen From Here is a twenty-five minute multimedia artwork, a collaboration between visual artist Barbara Weissberger and composer Eric Moe commissioned by Electric Earth Concets.

Presented by Electric Earth Concerts, July 11, 2019, The Monadnock Center, New Hampshire Presented by Ciompi Quartet, Tuesday July 9, 2019, Duke University

Posted: 00.00.00

NEW CD!

Visit the New Focus Recordings page to hear clips and purchase CD

Posted: 00.00.00

Contact

Howard Stokar Management
hstokar@stokar.com
(212) 470-1900

Press downloads
Bio Images

Scores and performance materials
Subito Music
sales@subitomusic.com
(973) 857-3440

All other inquiries
Eric Moe
504 N. Neville #11, Pittsburgh, PA 15213
emoe@pitt.edu
(412) 979-7411

Subscribe for updates:

Eric Moe

Eric Moe's music has been variously described as "maximal minimalism", "Rachmaninoff in hell", and "music of winning exuberance". Although the surfaces and genres are varied, his works share a concern for rhythmic propulsion and a disregard for stylistic orthodoxies. Sometimes tonal, sometimes not, harmony (generally crunchy) and melody (often angular) play privileged roles in his work.

Active as a pianist and keyboard player, Moe writes music he enjoys playing, and otherwise plays music he wishes he'd written. Mr. Moe is represented by Howard Stokar Management.

Eric Moe (b. 1954), composer of what the NY Times has called “music of winning exuberance,” has received numerous grants and awards for his work, including the Lakond Award from the American Academy of Arts and Letters and a Guggenheim Fellowship; commissions from the Pittsburgh Symphony Orchestra, the Fromm Foundation, the Koussevitzky Foundation, the Barlow Endowment, Meet-the-Composer USA, and New Music USA; fellowships from the Wellesley Composer's Conference and the Pennsylvania Council on the Arts; and residencies at the MacDowell Colony, Yaddo, Bellagio, the Virginia Center for the Creative Arts, the UCross Foundation, the Camargo Foundation, the Aaron Copland House, the Millay Colony, the Ragdale Foundation, the Montana Artists Refuge, the Carson McCullers Center for Writers and Musicians, the Hambidge Center, and the American Dance Festival, among others.

Tri-Stan, his sit-trag/one-woman opera on a text by David Foster Wallace, premiered by Sequitur in 2005, was hailed by the New York Times as “a blockbuster” and “a tour de force,” a work of “inspired weight” that “subversively inscribe[s] classical music into pop culture.” In its review of the piece, the Pittsburgh Post-Gazette concluded, “it is one of those rare works that transcends the cultural divide while still being rooted in both sides.” The work is available on a Koch International Classics compact disc. Strange Exclaiming Music, a CD featuring Moe’s recent chamber music, was released by Naxos in July 2009 as part of their American Classics series; Fanfare magazine described it as “wonderfully inventive, often joyful, occasionally melancholy, highly rhythmic, frequently irreverent, absolutely eclectic, and always high-octane music.” Kick & Ride, on the bmop/sound label, was picked by WQXR for album of the week: “…it’s completely easy to succumb to the beats and rhythms that come out of Moe’s fantastical imaginarium, a headspace that ties together the free-flowing atonality of Alban Berg with the guttural rumblings of Samuel Barber’s Medea, adding in a healthy dose of superhuman strength.” Other all-Moe CDs are available on New World Records (Meanwhile Back At The Ranch), Albany Records (Kicking and Screaming, Up & At ‘Em, Siren Songs), and Centaur (On the Tip of My Tongue). The Sienese Shredder, a fine arts journal, includes an all-Moe CD as part of its third issue.

As a pianist and keyboardist, Moe has premiered and performed works by a wide variety of composers. His playing can be heard on the Koch, CRI, Mode, Albany, New World Records and Innova labels in the music of John Cage, Roger Zahab, Marc-Antonio Consoli, Mathew Rosenblum, Jay Reise, Ezra Sims, David Keberle, Felix Draeseke, and many others in addition to his own. His solo recording The Waltz Project Revisited - New Waltzes for Piano, a CD of waltzes for piano by two generations of American composers, was released in 2004 on Albany. Gramophone magazine said of the CD, “Moe’s command of the varied styles is nothing short of remarkable.” A founding member of the San Francisco-based EARPLAY ensemble, he currently co-directs the Music on the Edge new music concert series in Pittsburgh.

Moe studied composition at Princeton University (A.B.) and at the University of California at Berkeley (M.A., Ph.D.). He is currently the Andrew W. Mellon Professor of Composition and Theory at the University of Pittsburgh and has held visiting professorships at Princeton University and the University of Pennsylvania.

Compositions

Filter By Type

Filter By instrument

Name

Year

Type

Instrumentation

Dur.

Play

More

FIERCE LAMENT

2002

Orchestra/large ensemble

A chamber orchestra 2-2-2-2/2-2-1-1/1 perc, pno/strings

8'

Tk all additional info here including commissioners, performance info, reviews, links to video, etc.
Sed quo berit, ipsunt. Sedit lata si sim aut iur? Modiciis molupta quaspel inim adipsapite volorerio cupit aut que molupta quidendam velibus modis cor sit voluptur atatio. Aciae. Nam quiam faccaec tiasit faccum acearciduci audae consent eum.

TIME, A MANIAC SCATTERING DUST

1999

Ensemble, Wind ensemble

Wind ensemble

3'45''

Tk all additional info here including commissioners, performance info, reviews, links to video, etc.
Sed quo berit, ipsunt. Sedit lata si sim aut iur? Modiciis molupta quaspel inim adipsapite volorerio cupit aut que molupta quidendam velibus modis cor sit voluptur atatio. Aciae. Nam quiam faccaec tiasit faccum acearciduci audae consent eum.

FIERCE LAMENT

2002

The Orchestra/large ensemble

The chamber orchestra 2-2-2-2/2-2-1-1/1 perc, pno/strings

8'21''

Tk all additional info here including commissioners, performance info, reviews, links to video, etc.
Sed quo berit, ipsunt. Sedit lata si sim aut iur? Modiciis molupta quaspel inim adipsapite volorerio cupit aut que molupta quidendam velibus modis cor sit voluptur atatio. Aciae. Nam quiam faccaec tiasit faccum acearciduci audae consent eum.

TIME, A MANIAC SCATTERING DUST

1999

This Orchestra/large ensemble, Wind ensemble

Piano wind ensemble

3'

Tk all additional info here including commissioners, performance info, reviews, links to video, etc.
Sed quo berit, ipsunt. Sedit lata si sim aut iur? Modiciis molupta quaspel inim adipsapite volorerio cupit aut que molupta quidendam velibus modis cor sit voluptur atatio. Aciae. Nam quiam faccaec tiasit faccum acearciduci audae consent eum.

NO TIME LIKE THE PRESENT

2012

Flute Orchestra/large ensemble

Harpa orchestra 3-3-3-3/4-3-3-1/3 perc, timp, pno, hrp/strngs

5'

Tk all additional info here including commissioners, performance info, reviews, links to video, etc.
Sed quo berit, ipsunt. Sedit lata si sim aut iur? Modiciis molupta quaspel inim adipsapite volorerio cupit aut que molupta quidendam velibus modis cor sit voluptur atatio. Aciae. Nam quiam faccaec tiasit faccum acearciduci audae consent eum.

FIERCE LAMENT

2002

Orchestra/large ensemble

Percursion chamber orchestra 2-2-2-2/2-2-1-1/1 perc, pno/strings

8'

Tk all additional info here including commissioners, performance info, reviews, links to video, etc.
Sed quo berit, ipsunt. Sedit lata si sim aut iur? Modiciis molupta quaspel inim adipsapite volorerio cupit aut que molupta quidendam velibus modis cor sit voluptur atatio. Aciae. Nam quiam faccaec tiasit faccum acearciduci audae consent eum.

TIME, A MANIAC SCATTERING DUST

1999

Orchestra/large ensemble, Wind ensemble

Ensemble wind ensemble

3'

Tk all additional info here including commissioners, performance info, reviews, links to video, etc.
Sed quo berit, ipsunt. Sedit lata si sim aut iur? Modiciis molupta quaspel inim adipsapite volorerio cupit aut que molupta quidendam velibus modis cor sit voluptur atatio. Aciae. Nam quiam faccaec tiasit faccum acearciduci audae consent eum.

NO TIME LIKE THE PRESENT

2012

Large ensemble

perc, timp, pno, hrp/strngs

5'

Tk all additional info here including commissioners, performance info, reviews, links to video, etc.
Sed quo berit, ipsunt. Sedit lata si sim aut iur? Modiciis molupta quaspel inim adipsapite volorerio cupit aut que molupta quidendam velibus modis cor sit voluptur atatio. Aciae. Nam quiam faccaec tiasit faccum acearciduci audae consent eum.

Discography
Albums

2019

Uncanny Affable Machines

2018

Of Color Braided All Desire

2017

Meanwhile Back at the Ranch

2016

Kick & Ride

2015

Strange Exclaiming Music

2014

TRI-STAN

2013

Siren Songs

2016

Kick & Ride

2015

Strange Exclaiming Music

2014

TRI-STAN

2013

Siren Songs

Compilations

1996

Speculum Musicae

1995

Lions Gate Trio

1993

Time, A Maniac Scattering Dust

1992

Lions Gate Trio

1990

Time, A Maniac Scattering Dust

Eric moe
uncanny affable machines

New Focus Records (FCR212)

1: Cross Chop
Paul Vaillancourt, percussion

2: Uncanny Affable Machines
Jessica Mweyer, viola

3: And No Birds Sing
Eric Moe, keyboard

4: The Sun Beats the Mountain Like a Drum
Yihan Chen, pipa

5: Cross Chop
Paul Vaillancourt, percussion

6: Uncanny Affable Machines
Jessica Mweyer, viola

7: And No Birds Sing
Eric Moe, keyboard

8: The Sun Beats the Mountain Like a Drum
Yihan Chen, pipa

More info

Stephen Hicken, American Record Guide
July/August 1997

Eric Moe's music adroitly navigates the border between humor and seriousness, crossing the frontier at will, often without incident. On the Tip of My Tongue is an entertaining an exciting set of studies for bass clarinet and synthesizer veering effortlessly between pop vitality and modernist exploration. Tim Smith gives a wonderful performance of the very difficult bass clarinet part. O Vos Omnes is a solemn, closely argued piece for vocal quartet (on a text from the Lamentations of Jeremiah) with beautiful, slow-moving counterpoint. The Bellefield Singers have a great sound and complete mastery of Moe's idiom. riprap, for flute, cello, percussion and piano, is a collection of lively blocks of scherzo-like material held together by sheer compositional force of will. Sad Steps, for oboe and piano, is another retelling of the Orpheus legend, concentrating on the tragic ending, with the oboe playing the roles of Orpheus himself as well as the mourners. The oboe writing is reminiscent of Elliott Carter's Oboe Concerto, with its supple lines and frequent trilling. Moe conceives of this piece as a lament for "the present condition of art music; voices that can make trees dance and rocks weep are being drowned out with negligent ease". Fancy Footwork is a light-hearted (but hardly shallow) companion piece to Sad Steps, and is part of Moe's own efforts to fight the conditions so dramatically outlined in that piece. Both of these pieces are given excellent performances by Marcia Butler, for whom they were composed, with the composer at the piano. Songs and Dances of the Automobile (FM synthesis) are, in the composer's words, gritty and humorous tributes to America's obsession with the car. Moe uses synthesis with artistry and sensitivity, the technology at his command, instead [of] the music being driven by the technology - as is often the case in music using rapidly developing digital instruments. Moe is a fine composer, and I look forward to hearing more of his music. - Stephen Hicken, American Record Guide, July/August 1997

News
UPCOMING
THE COLOR OF THERE SEEN FROM HERE

The Color Of There Seen From Here is a twenty-five minute multimedia artwork, a collaboration between visual artist Barbara Weissberger and composer Eric Moe commissioned by Electric Earth Concets.

Presented by Electric Earth Concerts, July 11, 2019, The Monadnock Center, New Hampshire Presented by Ciompi Quartet, Tuesday July 9, 2019, Duke University

Posted: 00.00.00

NEW CD!

Visit the New Focus Recordings page to hear clips and purchase CD

Posted: 00.00.00

UPCOMING
THE COLOR OF THERE SEEN FROM HERE

The Color Of There Seen From Here is a twenty-five minute multimedia artwork, a collaboration between visual artist Barbara Weissberger and composer Eric Moe commissioned by Electric Earth Concets.

Presented by Electric Earth Concerts, July 11, 2019, The Monadnock Center, New Hampshire Presented by Ciompi Quartet, Tuesday July 9, 2019, Duke University

Posted: 00.00.00

NEW CD!

Visit the New Focus Recordings page to hear clips and purchase CD

Posted: 00.00.00

Contact

Howard Stokar Management
hstokar@stokar.com
(212) 470-1900

Press downloads
Bio Images

Scores and performance materials
Subito Music
sales@subitomusic.com
(973) 857-3440

All other inquiries
Eric Moe
504 N. Neville #11, Pittsburgh, PA 15213
emoe@pitt.edu
(412) 979-7411

Subscribe for updates:

Paused

Queue