A virtuoso organist who is more rock star than classical musician
By E.F.
AT HIS Proms debut in London in September, Cameron Carpenter, a young American organist, announced “If playing the organ was illegal, I would definitely be in jail right now.” With coiffed hair, skin-tight glittery trousers and toned biceps he is more rock star than classical musician.
Mr Carpenter, who started playing the organ at the age of four, has a flamboyant style backed up by a sharp technique. He is widely regarded as a leading innovator of the instrument, revolutionising its humble reputation. Later this month he will open the organ series at the Berlin Philharmonic, premiering three movements from his new work entitled “Science Fiction Scenes”. He describes it, curiously, as “a collected book of secular organ work in a cinematic vein.”
Fearless and passionate, Mr Carpenter boldly treads where few have trodden before, earning him a Grammy nomination. His vast output includes classical works and his own modern interpretations. His transcriptions, often playful, are always devoted to the essence of the original.
This maverick virtuoso spoke to The Economist about premiering his new work, why the organ is often underrated and stage fright.
Do you think the organ is underrated?
The organist as a whole is hugely underrated. I think this is partly because organists have chosen to be retiring and, in general, have opted out of the overall structure of musical commerce. Music-making is, and always has been, a commercial undertaking; but the concept of the musician as a product himself has largely passed unnoticed by the organ community. For decades organists have, almost unanimously, failed to resist stereotypes and failed to fight for changes that would help audiences to realise that the organ is never an end in itself—but only a means to an end.
You are referred to as the Berlin Philharmonic’s “organist in residence”. What does your collaboration with them involve?
I am beyond thrilled to be the first organist that the Philharmonic has partnered with in a major way. Although technically, I am not “in residence”; it will be a long-term collaboration over the next few years. Each year I will open the organ series—the only concert taking place at 8pm, which is an important step up in prestige for the humble organist, as we are so often presented on Sunday afternoons. This year I am playing the first concert on this organ since its rebuilding and enlargement over the summer.
Tell me about your original compositions for the opening concert.
I will be premiering three movements from “Science Fiction Scenes”. When completed, “Science Fiction Scenes” will have ten movements but this will be the first performance of the first, fifth and tenth movements. The science-fiction element is to do with the idea of possibility and exploration, and perhaps also of the dangers and rewards of stretching boundaries and pushing beyond one's limits. For me, the organ is a kind of universe, one I'm very eager to expand and change. I am very attracted to creating a musical work that embodies this, as well as the excitement and emotion that such an exploration creates in me.
You will also be playing your own transcriptions of Bach and Wagner. What are the challenges of performing old and new works in the same programme?
For me there is no challenge, only delight. The greater challenge, from a dramaturgical standpoint, would probably be to make a Bach or Wagner concert successful and entertaining. Indeed, the idea of an all-Bach recital is one of the organ's clichés, and one of many examples of how destructive it is to allow academia to seep, like acid, into the territory of joyful, sincere and righteous performance.
If anything, I feel that my programming and my performances are still not wide-ranging enough. This is one of the reasons I am so passionate about developing my own touring organ, so that I can encompass more and more diverse and contrasting repertoires in my concerts.
What do you want the audience to take from your work?
Everything. Especially the private things they hear that I wasn't even aware of, or will never find out.
You are known for your showmanship and unorthodox dress—has this elaborate style had an effect on your career?
The experience of knowing that I always walk on stage fully as myself has only ever had the richest and most supportive effect on my artistic output, my composition and especially my playing. I think it is also the reason that I have no stage fright—something I probably would have if I felt I needed to conform to the expectations of others.
You once customised a Chanel coat with tiny Swarovski crystals. Do you often make your own outfits?
Unfortunately I don't have as much time for design as I would like. But yes, I do make, or alter, my concert-wear from time to time. I am always fully responsible for my image and my styling.
Your performances are energetic and demanding—how do you keep yourself fit with your busy concert schedule?
Staying in shape on the road can be very difficult. At home, my normal week almost always involves four or five visits to the gym. Weightlifting and fitness in general is more than a hobby, it is a passion—something I look forward to just as much as music. It is incredibly important too, not just for my activity at the organ, but also to be able to sustain the punishing schedule of touring. Essentially, I simply eat as much as I can and keep moving!
Cameron Carpenter will play at the Berlin Philharmonic on September 24th, the concert will be live-streamed through the Digital Concert Hall
