Kevin Moore is a Professor of Music at Onondaga Community College where he has taught since 1975. He has studied piano with James Ball, Robert Goldsand, Anton Kuerti and Liselotte Schmidt. He has a B.M. degree from the Crane School of Music, an M.M. degree from the Manhattan School of Music, a Ph.D. from New York University and a J.D. degree (magna cum laude) from Syracuse University College of Law. Between 1995 and 2001 he presented four different all-Chopin recitals in Syracuse as well as more than three dozen appearances as chamber musician. Prior to 1995 he presented eight separate all-Beethoven recitals in the Syracuse area as well as more than 45 different solo recital programs and more than 150 chamber concerts. He played a debut recital in Carnegie Recital Hall in New York City in 1976 which was very favorably reviewed by Raymond Ericson of The New York Times.

Of all the works of Beethoven, the 32 piano sonatas offer the most comprehensive overview of his development and greatness as a composer. Distinguished pianist Robert Goldsand once said, It�s nice that you can dazzle them with the fireworks of Liszt but you will be judged seriously by your Beethoven. To hear the complete sonata cycle in concert is an opportunity usually reserved for large cities and major cultural centers.

It has never been done previously in Syracuse.

After a 1990 all-Beethoven recital at LeMoyne College in Syracuse, Larry McGinn of the Syracuse Post Standard wrote that ...the recital was first-rate pianism by any measure. It had included the Waldstein Sonata where, Moore opted for a fast tempo, close to breakneck in the opening Allegro. But it worked splendidly, due mostly to his formidable ability to retain total clarity despite the speed. If the reading had one distinguishing characteristic, it was grandeur. Nothing was held back as he brought the music to full life. Underneath the excitement, though, was a carefully thought-out performance in which even the slightest of the variations was securely in place. In the Sonata no. 30, op 109, ...[t]he reading was intense as Moore...seemed completely wrapped up in the music. The cantabile line of the last movement was nothing less than gorgeous. It was the kind of performance one wished had been captured on disc so that it could be heard again and again.