Cameron Carpenter, International Touring Organ. Sony 88883796882 (CD and DVD).
Make no mistake: American organist Cameron Carpenter has enormous talent. Earning a bachelor's and master's degree from The Juilliard School in New York, he studied with organists Gerre Hancock, Paul Jacobs, and John Weaver. There appears nothing Carpenter can't play and play well. Nevertheless, he apparently decided early on that to become a superstar in the world of organists, you had to do something more than merely play the organ well. And so he adopted a punk-rock persona, cultivated a flamboyant style, and helped design an International Touring Organ to his own specifications. The work has paid off: He's now a superstar. At least, he's a superstar among the general public, where his concerts regularly sell out and his CD's fly off the shelves. Whether he can satisfy the organ purist, however, remains open to question, and whether he will be able to maintain a lasting popularity beyond his current glamor stage we will have to wait and see. For the moment, he is definitely a sensation.
Of course, this isn't the first time a musician has purposely set out to create something new and different in the world of classics by promoting a cult of personality: Chopin, Liszt, Paganini, even Mozart had their critics who claimed their music making was more about themselves than about the music they were playing. More specifically, in the late twentieth century, organists Virgil Fox and E. Power Biggs were the biggest names in the business, with Fox insisting that performers needed to take the organ out of the musty depths of church cathedrals and into the imagination of the masses, while Biggs argued that organists had an obligation to play the organ as composers for the instrument intended it be played. Fox disparaged Biggs's clinging to historical accuracy, saying Biggs and his followers were "relegating the organ to a museum piece." Both organists were enormously popular, so I suppose there's room for all tastes in the classical field.
Certainly, one needs an open musical taste to appreciate Cameron Carpenter. But heard on a CD, divorced from the man's physical appearance, one can readily hear his musical gifts and perhaps better enjoy his innovative musical style. On the present album, Cameron plays the music of over half a dozen classical and pop composers, including a composition of his own, mostly in his own arrangements and all of it played on an organ created especially for him, a digital instrument that incorporates the sounds of many of Carpenter's favorite organs and that enables him to reproduce what every organist dreams of: a symphony orchestra at his fingertips. He makes some impressive sounds.
Anyway, Cameron opens the program somewhat conventionally with his own arrangement of J.S. Bach's Cello Suite No. 1. The music becomes more elaborate as it goes along, and Cameron's way with it is, indeed, fun to hear. If I have any reservation it's that further along in the piece Cameron's instrument tends slightly to overwhelm the music compared to the unaccompanied cello for which Bach originally intended it.
Next, we have the most flamboyant music on the disc, Leonard Bernstein's Overture to Candide. Here, Cameron pulls out all the stops, so to speak, allowing himself full rein of the multitude of sounds his specialized Touring Organ can make. Again, though, I found myself with one minor concern: If you listen to Bernstein's own rendition of the work, you may find that even in his older years he actually put more energy and high spirits into the music (check YouTube) than Cameron does. That doesn't mean I found anything inherently wrong with Cameron's version, only that Cameron may be more musically sedate and respectful than you might expect from his appearance.
And so it goes: We get Cameron's realizations of Sergei Rachmaninov's Vocalise, Astor Piazzola's "Oblivion," Marcel Dupre's Variations sur un Noel pour grand orgue, Aleksandr Scriabin's Piano Sonata No. 4 in F-sharp major, Bach's Organ Sonata No. 6 in G major, an original piece by Carpenter called Music for an Imaginary Film, and five popular-song paraphrases. Like the rest of the program, they are equally playful, amusing, serious, and enjoyable as the case may be.
Favorites? I loved the simple beauty of Rachmaninov's Vocalise and Carpenter's delicate manner of handling it. I took delight in Cameron's own Music for an Imaginary Film because, as he says, it gets the most out of the Touring Organ's "cornucopia of color." I found myself fascinated by Piazzolla's soft tango rhythms. There is exquisite beauty as well as excitement in Dupre's and Scriabin's work. And it's hard not to enjoy Bach in any form.
The pieces I liked least were Carpenter's organ transcriptions of songs by Gordon Lightfoot, Burt Bacharach, Leonard Cohen, Bob Montgomery, and Anthony Newley and Leslie Bricusse. I mean, do we really need "Back in Baby's Arms" played on a huge electronic organ? If you'll forgive an admittedly unfair comparison, it reminded me of a skating rink.
So, will Carpenter's music making wear well in the long run, or will people eventually tire of his personal eccentricities? Ask me in another ten years.
In addition to the CD of music, the case contains a forty-three minute DVD of video, with six tracks devoted to Mr. Cameron playing various short pieces, plus an introduction to the performer and a segment on the building of the International Touring Organ. A light-cardboard slipcover completes the package.
Producer Philipp Nedel and engineer Martin Kistner recorded the CD music at Methuen Memorial Music Hall, Methuen, Massachusetts in November-December 2013. Producer Uwe Dierks and director Thomas Grube made the DVD. On the CD the organ sounds moderately distant, with a good deal of hall resonance involved. I suppose this spacious atmosphere helps emulate the live experience, but it means that a degree of detail gets lost amid the room reflections. Fortunately, a good, solid deep bass enhances the experience, as do strong dynamics and a healthy stereo spread.
To listen to a brief excerpt from this album, click here:
John J. Puccio, Editor, Publisher, Reviewer
Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.
Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer
For more than 20 years I was the editor ofThe $ensible Soundmagazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.
For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst
I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.
Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.
It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.
When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.
So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio
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