GREATPERFORMERS

MELBOURNE RECITAL CENTRE PRESENTS

Cameron Carpenter

ORGAN

3

Cameron Carpenter

Piano

Elisabeth Murdoch Hall7:30pm

Pre-concert Q&A with Cameron Carpenter & Donald Nicolson 6.45pm - 7.15pm Elisabeth Murdoch Hall

_ This concert is being broadcast live on ABC Classic FM

_ DURATION: Two hours including one 20-minute interval

Wednesday

NOVember

DIE ZEIT

A FALLEN

ANGEL WHO

GIVES THE

ORGAN BACK

ITS SIN

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PROGRAM

An eclectic program such as that being presented tonight by the inimitable Cameron Carpenter would certainly be somewhat incomplete without a choice selection of transcriptions from both the orchestral and piano literature. The art of transcription – and it is an ‘art’ and not merely a verbatim reproduction of a particular score – dates back many hundreds of years. Transcribing works for the ‘organ orchestra’ is a phenomenon which has waxed and waned for many decades according to the whims and fancies of a concert-going public, not to mention the players themselves; so that at various times one may have heard nothing but transcriptions on an organ program, whilst at other times nothing but original works. It seems that in this day and age we’ve reached what might be seen to be an acceptable balance between the two scenarios, and an understanding that transcriptions which are well-crafted and executed may legitimately make a contribution to the art of organ music and its performance in all its guises.

Carpenter continues a great tradition of organ virtuosi arranging, to brilliant effect, the orchestral music of Richard

Wagner (1813–1883). The likes of W.T. Best (1826–1897), organist of St George’s Hall, Liverpool, who notably opened the Sydney Town Hall organ in 1890; Edwin Lemare (1865–1934), a British organist who spent much of his life in the United States; and Reginald Goss-Custard (1877–1956), a British organist who toured the United States extensively; to name a few such virtuosi, made careers out of their clever arrangements and performances of the same. These arrangements were welcome fodder for the concert-going public of the second half of the nineteenth century and beyond as the organ became, for the first time, an acceptable substitute for the riot of colour produced by a full symphony orchestra. A large organ coupled with the use of imaginative registrations (which didn’t necessarily mirror orchestral sounds exactly, but which provided ‘organistic’ substitutes)

‘proved’ for the first time that an orchestra wasn’t necessarily required to play orchestral repertoire. No doubt budgetary considerations made the practice all the more popular, and perhaps that’s also one of the reasons why the wheel has turned full circle in the twenty-first century.

ABOUT

THE MUSIC

RICHARD WAGNER (b. Leipzig, Germany, 1813 – d. Venice, Italy, 1883) – arr. Carpenter Overture to Die Meistersinger von Nürnberg

J.S. BACH (b. Eisenach, Germany, 1685 – d. Leipzig, Germany, 1750)Prelude and Fugue in A Minor BWV 543

FRANZ LISZT (b. Raiding, Austria, 1811 – d. Bayreuth, Germany, 1886)Funérailles from Harmonies poétiques et religieuses III, S.173

MARCEL DUPRÉ (b. Rouen, France, 1886 – d. Meudon, France, 1971)Variations sur un Noël, Op.20

INTERVAL: 20 MINUTES

CAMERON CARPENTER (b. Pennsylvania, USA 1981)Music for an Imaginary Film

J.S. BACH Trio Sonata in D minor BWV 527I AndanteII Adagio e dolceIII Vivace

J.S. BACH / SERGEI RACHMANINOFF (b. Starorussky Uyezd, 1873 – d. California, USA, 1943) – arr. CarpenterPartita No.3 for Solo Violin in E, BWV 1006I PreludioII GavotteIII Gigue

ALEXANDER SCRIABIN (b. Moscow, Russia, 1872 – d. Moscow, Russia, 1915) – arr. Carpenter Sonata No.4 in F-sharp, Op.30 I Andante— II Prestissimo volando

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The overture of Die Meistersinger von Nürnberg was the first part of the opera to be composed, and was premièred in Leipzig in 1862. The opera was then performed in its entirety three years later, and is noteworthy as Wagner’s only mature comic opera. Wagner introduces themes in the overture which refer directly to the mastersingers and their apprentices, as well as other characters and emotional elements of the plot which recur throughout the opera proper. This is music of contrasts; sometimes noble and stirring, at other times more lyrical, and even includes a section of fugal writing which provides a deliberately archaic flavour in deference to the subject matter of the opera. It’s one of Wagner’s most famous pieces, but has developed some darker hues in recent times given the fact the Nazis had it performed prolifically, often at grand public events in which spectacle was paramount.

Franz Liszt (1811–1886) was an inveterate transcriber for piano of pieces originally written in other mediums, perhaps most famously demonstrated in his complete Beethoven symphonies for solo piano which were published in 1865, and numerous transcriptions of Schubert songs which he undertook at various times throughout his long career. The

transcriber becomes the transcribee in Funérailles, a work from a collection of piano pieces entitled Harmonies poétiques et religieuses. The cycle, based on poems by Alphonse de Lamartine, was written between 1845 and 1852, with Funérailles itself written in 1849. Its creation was inspired by the dark days of the Hungarian Revolution and the merciless treatment meted out by the Habsburg Empire to some of the instigators, some of whom were Liszt’s personal friends. The piece is comprised of four sections throughout which Liszt creates various moods and effects; the sound of distant bells, trumpets which act as a call to arms, and two contrasting marches, one funereal, the other warlike. The pianist Philip Thomson sums up the feelings generated by the piece succinctly: ‘Dark, poignant, defiant, and tragic, just as the events were that inspired it. More powerful or heartfelt funeral music than this has not been penned.’

Another virtuosic pianist, Alexander Scriabin (1872–1915) was something of an enigmatic and controversial figure. A mystic and a synesthete, he died at the relatively young age of 43 not long after playing his Fourth Sonata in his final concert. No less a figure than Leo Tolstoy referred to the music of Scriabin

as ‘a sincere expression of genius’, whilst others who came later in history were less than flattering – the British conductor Adrian Boult pointedly said that Scriabin wrote ‘evil music’ and refused to perform it when requested to do so in the 1930s. Despite his chequered reception history, Scriabin is, today, generally accepted to be a first-rate composer who deserves his place in the pantheon of Western art music, although it still takes a patient performer and a patient ear to untangle the sometimes labyrinthine harmonic constructions which Scriabin so enjoys. In all, he wrote ten piano sonatas, the first when he was twenty years of age, the last a couple of years before his death. The Fourth Sonata was written in 1903 and is the shortest of all of the sonatas. Nominally the work is in two movements, but given that the second starts attacca after the first, one would be forgiven for understanding the two sections as a complete entity. It is typically highly chromatic and emotionally charged. A notable, audible feature of the piece is its use of cyclic form, a romantic device in which the first section’s main theme is repeated during the climax of the second. The key is also of note – F sharp major was a favourite key of the composer’s; furthermore, Sonatas 5-10 didn’t contain

a statement of key as part of their respective titles as Scriabin’s explorations of chromaticism became more detailed and extreme.

J.S. Bach arranged and transcribed his own music as well as that of other composers. He was particularly fond of the music of Antonio Vivaldi (1678–1742), and transcribed various orchestral works to be played as showpieces on both harpsichord and organ. There’s no doubt that such transcriptions allowed the young Bach to undertake a comprehensive study of Vivaldi from a compositional point of view so that elements of the Italian composer’s style made their way into those of the provincial German. Dating Bach’s works has proven to be a problematic exercise in many instances, so that somewhat unusually we are able to give a completion year of 1720 for the complete set of Sonatas and Partitas for solo violin, BWV 1001-1006. The Preludio from the Partita No.3 was arranged by Bach for obbligato organ and orchestra to become the Sinfonia of his cantata Wir danken dir, Gott, wir danken dir, BWV 29. If we make our way through time a couple of centuries or so from this point to 1933, we discover that Sergei Rachmaninoff (1873-1943) arranged three movements from the first suite

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for piano, which is again arranged for organ today. So, in essence, with reference to the Preludio, we are hearing a transcription of a transcription of a transcription of a transcription.

Rachmaninoff, like his compatriot Scriabin, has been the victim of changing fashions and tastes with regards to his original works, many of which were written for piano, although these shifting perceptions are for different reasons to those of Scriabin. Rachmaninoff’s perceived sentimentality was already an anachronism during his lifetime, and his death did nothing to assuage that feeling amongst musicians who really knew what good music was about. Fortunately, again, the pendulum has swung back so that we can enjoy, without embarrassment, mighty works such as the Third Piano Concerto, the Second Symphony, the Cello Sonata, and a variety of occasional piano pieces and songs. The age we live in grants us the opportunity of hearing Rachmaninoff himself play his transcription of the three Bach movements as his career began to flourish at the dawn of the age of music recording. His performance of the Bach, recorded towards the end of his career for RCA in 1942, is a virtuosic showcase

Marienkirche, a distance of some two hundred and fifty miles achieved on foot. The fugue subject, a dance-like construction, throws the listener somewhat given that significant melodic elements are placed on off beats. Both hands and feet are kept busy throughout the entire piece, which includes a relatively lengthy section for manuals only at the centre of the work, until the final mad flourish at the very conclusion. One wonders how audiences of Bach’s time must have perceived such

‘madness’, and how tolerant they were of the young Bach pushing boundaries of technique and perhaps taste.

If the Prelude and Fugue in A minor is a challenge to the player, the set of six Trio Sonatas, BWV 525-530, each of which is in three movements, may rightly be considered to be amongst the most difficult of all of Bach’s organ works. Although they don’t exhibit the drama of some of the longer and grander pieces in the canon, they require complete independence of left hand, right hand and feet – texturally speaking, there is nowhere for the organist to hide. The contrapuntal and musical elegance which they exhibit ensures that words written some twenty-five years after Bach’s death still ring true today as predicted by

the anonymous author of the following: ‘Trios: there still exist six of these by him [Bach] for the organ, for two manuals and pedal, that are so beautiful, so new and rich in invention, that they will never age but will outlive all changes of fashion in music.’

The first movement of the Trio Sonata No.3 in D minor, BWV 527, is somewhat meditative in character. The key itself, according to the baroque theorist Johann Mattheson, would have something to do with this as, according to the so-called ‘Doctrine of the Affections’, the key of D minor produced music which was ‘devout, serious, grand, and calming.’ The second movement, a gorgeous, almost sensual utterance, sees the manuals engage in sophisticated dialogue of the highest order. The final movement may be considered to be one of the most difficult in the entire set, consisting as it does of incessant flourishes, semiquaver and triplet movement in the manuals, with the ever-present pedal line obliged to run the gamut of the pedal board to keep up.

The doyen of French organists Marcel Dupré (1886–1971) possessed a demonstrable love of the organ works of Bach. Indeed, Dupré played all of them

yet given with deft touch and almost impossible grace given the technique required to play all of the notes, notwithstanding making music of those notes. His harmonies are a little more adventurous than those of Bach, cheekily so in places, but a deference towards the music of the master is always palpable.

Bach’s Prelude and Fugue in A minor, BWV 543, is a virtuosic statement in its own right. It’s clearly an early composition, although dating it is problematic due to the fact that no autograph manuscript survives, this being the case with the majority of Bach’s organ works. The prelude demonstrates characteristics of the so-called stylus fantasticus; a improvisatory feel, which is manifested in part by the ‘sectional’ nature of the work; and virtuosic, alternating passages for both manuals and pedals within said framework. Although the stylus fantasticus had its origins in the sixteenth century, Bach’s direct mentor in the style was undoubtedly Dietrich Buxtehude (c.1637–1707). Bach not only wrote out organ works of Buxtehude to play and study, but he also heard Buxtehude play the organ after making his now famous trek to Lübeck where Buxtehude was the organist at the

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from memory twice in a series of ten concerts in 1920 and 1921, a feat which placed him squarely on the world stage. Such performance feats aside, he also found time to be a prodigious composer, writing some sixty-five compositions for organ in all. He penned Variations sur un Noël, based on the French carol Noël nouvelet, whilst travelling by train across America in 1922 as he undertook his first tour of that continent. The variations are a kaleidoscopic excursion into contrapuntal forms – three of the variations are in canon, whilst the tenth and final variation is a complex fugue – which is perhaps not surprising given Dupré’s recent immersion in the works of the greatest contrapuntalist of all time. As with much French organ music, registrations are specific and not left to the performer’s imagination. Dupré makes the most of the colours available to him via some of the great French instruments he knew well, most notably that of the Cavaillé-Coll organ at Saint Sulpice in Paris where he was titular organist for almost forty years.

Finally, it’s significant to note that we hear Cameron Carpenter as not only performer and transcriber today, but also as composer in his Music for an Imaginary Film. Written in 2013, it was the first work composed expressly for his International Touring Organ; that is, the instrument we hear tonight. The

première took place at the first outing of the organ in Alice Tully Hall, New York, in March 2014, and was described by New York Times music critic Anthony Tommasini thus ‘The work unfolds in fits and starts, with frenzied episodes, ominous clashing chords, pummeling rhythms and, occasionally, a fleeting melodic phrase like something from a silent-film melodrama.’

The composer himself sheds further light on the piece and its unique relationship to his instrument in his own words:

‘Music for an Imaginary Film is…the most complete utilisation…of this instrument’s staggering cornucopia of colour. It is a musical accompaniment for the drama of the listener’s interior life.’

Today, then, we are granted the gift of a program replete with variety and virtuosity which amply demonstrates Cameron Carpenter’s multitude of talents.

© Dr Calvin Bowman, 2015

Described variously as “a uniquely talented

musician” (Philip Glass), “one of the finest

musical minds this country has produced”

(Graham Abbott), and “truly gifted”

(Ezra Laderman), Calvin Bowman (classical

harpsichord, organ, piano) is currently a

Senior Lecturer and University Organist

at the Australian National University.

The International Touring Organ is the eighth organ by Marshall & Ogletree, the Needham, Massachusetts organ builders redefining the digital organ as an instrument of artistic significance. Its concept is simple: innovate the relationship between organ and organist. While the uniqueness of each pipe organ is part of its collective magic, this makes it impossible to perform the same music regardless of where the organist plays, as any violinist can do through a relationship of years with a single instrument.

Therefore Marshall & Ogletree has sampled sounds from many traditional pipe organs, including many of Cameron’s favorite instruments – from the cathedral to the Wurlitzer. These come together in an organ designed not for size, limitless variety, or to model any particular pipe organ, but rather to make a great organ internationally mobile – an idea impractical or impossible by other means. The true scale of its ambitiousness can be seen in its console and extensive touring sound system. These insure the organ’s consistency from venue to venue, both as the home instrument of the artist it was built for and an ultimate acoustical experience for the listener.

The entire organ assembles in less than three hours and travels in a single

large truck; identical European and American sound systems (housed in Berlin, Germany and Needham, MA) make it internationally mobile. Its sound system is a massive complex of specially sourced sound support and amplification equipment housed in mobile, location-adaptable touring cases. The organ console is assembled manually and hydraulically from only six modular parts, and like the sound system, travels in purpose-built robust touring cases.

A maverick in the traditional world of organ building, Marshall & Ogletree shot to prominence in 2003 with their Opus 1 at Trinity Church Wall Street in New York City, a landmark organ controversial for having replaced the former Aeolian-Skinner pipe organ damaged by debris on September 11, 2001. Uniquely among organ builders, the firm’s principals are also acclaimed organists – Douglas Marshall, a competition-winning former student of Virgil Fox, and David Ogletree, a Curtis Institute graduate. The firm is based in Needham, Massachusetts.

About The International Touring Organ

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ABOUT

THE ARTIST

Cameron Carpenterorgan

He regularly appears as a soloist with many of the world’s great orchestras, and signed in 2013 an exclusive multi-album recording contract with Sony Classical. In March 2014, Cameron launched his International Touring Organ – a monumental digital organ of his own design, playable throughout the world – with concerts at the Lincoln Center, the release of the Sony album If You Could Read My Mind and a 31-concert tour to Europe, the USA and the UK. Now, in November, Cameron presents the International Touring Organ at Sydney Opera House and tonight at Melbourne Recital Centre.

A virtuoso composer-performer unique among keyboardists, Cameron’s fresh approach to the organ is generating a level of acclaim, exposure, and controversy unprecedented for an organist. His repertoire – from the complete works of J. S. Bach and Cesar

Franck, to his hundreds of transcriptions of non-organ works, his original compositions, and his collaborations with jazz and pop artists – is perhaps the largest and most diverse of any organist. He is the first organist ever nominated for a GRAMMY® Award for a solo album.

As a keyboard prodigy, he performed Bach’s Well-Tempered Clavier at age 11 before joining the American Boychoir School in 1992 as a boy soprano. During his four years of high school studies at The North Carolina School of the Arts, he made his first studies in orchestration and orchestral composition, and transcribed for the organ more than 100 major works, including Gustav Mahler’s complete Symphony No. 5. Cameron continued composing after moving to New York City in 2000 to attend The Juilliard School. While at the School he composed art songs; the symphonic poem Child of Baghdad

Cameron Carpenter is having a ball smashing the stereotypes of organists and organ music – all the while generating worldwide acclaim and controversy. His repertoire – from the complete works of J. S. Bach to film scores, his original works and hundreds of transcriptions and arrangements – is probably the most diverse of any organist.

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(2003) for orchestra, chorus and Ondes Martenot; his first substantial works for solo organ; and numerous organ arrangements of piano works by Chopin, Godowsky, Grainger, Ives, Liszt, Medtner, Rachmaninoff, Schumann, and others. Cameron received a Master’s Degree from The Juilliard School in New York in 2006.

The same year, he began his worldwide organ concert tours, giving numerous debuts at venues including Royal Albert Hall, the Leipzig Gewandhaus, Melbourne Town Hall, Tschaikowsky Hall in Moscow, Davies Hall in San Francisco and many others. His first album for Telarc®, the GRAMMY®-nominated Revolutionary (2008), was followed in 2010 by the critically acclaimed full length DVD and CD Cameron Live! Edition Peters became his publisher in 2010, beginning the ongoing release of his original works with Aria, Op. 1 (2010). His first major work for organ and orchestra, The Scandal, Op. 3, was commissioned by the Cologne Philharmonie (KölnMusic GmbH) and premiered on New Year’s Day 2011 by the Deutsche Kammerphilharmonie under the direction of Alexander Shelley. Of Cameron the composer, DIE WELT’s Manuel Brug writes: ‘Carpenter… is

proving himself to be a clever eclecticist, who understands to entertain with much finesse, and admits with a wink that he is ‘annoyed by intellectual music’.

Cameron is one of the only performing artists to make a practice of meeting his audience in person before his performances – often spending over an hour before each concert shaking hands and signing autographs on the floor of a concert venue. With combined millions of hits on YouTube and numerous television, radio and press features including CNN The Next List, CBS Sunday Morning, BBC Radio 3, ARD, ZDF, NDR Kultur, The New York Times, The New Yorker, The Wall Street Journal and many others, he is the world’s most visible organist.

— Cameron Carpenter unveils the International Touring Organ at the Lincoln Center,

New York. Photography by Samuel Nelson & Hiroyuki Ito.

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