Cameron Carpenter, who is probably the most brilliant (and therefore most controversial) young organist on the concert circuit, has chosen a blockbuster program. First is his arrangement of Mussorgsky's "Pictures at an Exhibition." Carpenter reveals astonishing new insights into the original piano score and Marshall Yaeger's Kaleidoplex fractal art lends an exciting visual element to the DVD. The second half is "New York City Sessions" by Cameron Carpenter. A result of evenings improvising on the inspiring Trinity organ, one theme of Carpenter's suite is C-B-G-B, the name of one of New York's most famous rock music clubs. At times sounding like a theatre organ, a cathedral instrument, a techno nightclub, or the New York City subway system, Carpenter explores the organ's resources in extraordinary depth and detail. For anyone that wants to know what a 21st Century organ of 240-voices sounds like when exercised to its full capacity, this album is a must! In addition, the DVD includes a documentary on the making of the album. Carpenter plays the Trinity organ, visits Manhattan locales, and is interviewed. The DVD also includes a recording of a Virgil Fox "performance" on the Trinity Organ. Fox, whom The New York Times called "the ultimate switched-on master of the instrument," recorded Bach's Trio Sonata No. 6 in G Major on his beloved Aeolian-Skinner organ at the Riverside Church in 1963. Douglas Marshall accurately transferred all of Fox's interpretation and expression to the Trinity Organ. Marshall Yaeger added charming and amusing Kaleidoplex fractal art. Experiencing the results in 5.1 Surround Sound will provide a transcendental experience to the listener.
Most Helpful Customer Reviews
A year ago I could only find this DVD/CD at the ridiculous price of over $290.00 used. While I do think Cameron is an important artist I thought this would be one recording that I wouldn't get since I would never pay that price. This price I think was reasonable for the first recording of Cameron Carpenter, though more than he charges for his newer work.
The young man has challenged most if not all of my assumptions about what is allowed performers in their work. He's affirmed my long held opinions about music education at the highest levels that hold that conventionality is the safe but un-artistic path. Even in the generation before Mr. Carpenter, my generation, the schools I attended seemed intent on ironing out risk from perfomance. This misguided attempt to teach excellence wasn't uniformly applied but was and is a glaring shortcoming of performing arts scholarship and pedagogy. I wasn't a Julliard student but the New England Conservatory and the Eastman School of...
I have a long-time interest in music, audio and video; I've been an enthusiastic fan of classical music since 1942, and an audio hobbyist since 1953 and have assembled and enjoyed many different combinations of components over the years. One of my major areas of interest has been the pipe organ; as a test of low frequency reproduction, the pipe organ is the reference standard. On top of that I simply love the instrument and its music.
When I got my November, 2007 issue of Sound & Vision Magazine I saw an article which was definitely intriguing to me; during the 9/11 attack on NYC, the Aeolian Skinner Pipe organ in the Trinity Church, which is just across the street (600') from what had been the World Trade Center, had just been turned on. As a result the gray clouds of dust generated by the attack were drawn into the organ essentially ruining the organ. The pipes themselves, however, have been saved and can eventually be used again in a new pipe organ.
I saw Cameron playing organ live at First Congregational Church of L.A. (home of worlds largest church pipe organ) April 18, 2010 to a packed crowd. He is a modern day organ genius, prodigy. All attendees were VERY impressed, both with his music, style, comments and techniques. This was a predecessor of subsequent great recordings by Cameron Carpenter.
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