Pipe Organ Unleashed: Cameron Carpenter at Weiwuying

At Weiwuying, home to Asia's largest pipe organ, virtuoso organist Cameron Carpenter took the instrument off the altar and onto the centre stage, delivering an electrifying performance that mesmerised the audience of Taiwan.

Sense of Wander: ★★★★★

Weiwuying’s Concert Hall is known for its unique vineyard style, and is home to Asia’s largest pipe organ. Image courtesy of Weiwuying

KAOHSIUNG, Taiwan — The first time I heard a pipe organ playing was at a church in Italy over a decade ago. The unique sound of this musical instrument exudes an air of sacredness, inviolability, and grandeur.

Akin to a portal to the divine, the pipe organ speaks to the very essence of our being and awakens the deepest parts of our souls. Its resounding notes reverberate through the air echoes like the voice of divinity. Its subtle yet powerful tremulant or vibrato seems to resonate with the enigmatic origins of the universe. Its deep, rich tones pulse with an energy that transcends the physical, carrying listeners on a journey beyond the boundaries of time and space.

My understanding of the pipe organ was limited until, only recently, when I had the chance to attend a concert by Cameron Carpenter, a virtuoso American organist, who expanded my perspective on this instrument beyonds its religious associations.

Following his debut in Kaohsiung in 2019, Carpenter returned to the city this spring to perform two concerts at the National Kaohsiung Centre for the Arts, also known as Weiwuying. The iconic vineyard-style concert hall at Weiwuying is well-known, but it is also home to the largest pipe organ in Asia. It was extremely fitting for Carpenter’s stature as one of the world's most accomplished organists to perform at Weiwuying.

Poster for Cameron Carpenter Organ Concert

The concert began with Bach’s Goldberg Variations. At first, the music started at a low volume, almost as if it were muted. I became impatient and anxious as the sound was unlike any I had heard before from a pipe organ. However, as the piece progressed, Carpenter started adding layers, enriching the colour of the composition.

Throughout his performance, Carpenter's hands were in constant motion, not only playing the keyboards but also deftly adjusting the stops on either side to create a wide range of sound effects. As the music swelled and surged, I noticed that both of his feet were also fully occupied with the pedal clavier underneath. It was clear that Carpenter's masterful technique and intricate footwork were key to producing the rich, full-bodied sound that filled the concert hall.

Initially, most audience was drawn to the rapid movements of both Carpenter's hands and feet, as he pulled various stops and played multiple layers of keyboards simultaneously. However, I soon realised that the true essence of his music could only be fully appreciated by closing one's eyes and letting the music wash over you. Without visual distractions, the melodies and harmonies truly came to life.

With my eyes closed, it felt as though I was listening to an ensemble or orchestra, something that would have been impossible to achieve by a solo performer. I could identify the rich and mellow sound of a French horn and violin in the high-range notes, while the low-range notes had a drum-like quality to them. The sound lingered for as long as the note was held, and based on the stops he pulled — it felt as if various musical instruments were living inside the organ!

During his concert, Carpenter presented two musical pieces by Joe Hisaishi, “Porco Rosso” and “Howl's Moving Castle”.

In Carpenter's rendition of “Howl's Moving Castle”, it felt as though he took the audience on a wander into a Lost Paradise, showcasing all the vibrant colours and fun of the place through added ornamentation. He kept the listeners engaged and reluctant to leave until the main theme returned at the end. This is quite different from the emotions evoked by the Hisaishi’s original arrangement, which has a clear waltz to the piece with sweeping melodies and graceful rhythm that stir a sense of nostalgia. That said, Hisaishi's arrangement is like an old master painting, whereas Carpenter's interpretation is more experimental and expressive, akin to an abstract work of art.

The concert concluded with Carpenter's arrangement of Mussorgsky's Pictures at an Exhibition, a colourful and vibrant masterpiece that left me thoroughly entranced.

Each piece — be it classical or contemporary — performed by Cameron Carpenter seems like a collaborative endeavour between the organist and the composer. But what intrigued me the most was how Carpenter's performance on the pipe organ resembled that of a DJ mixing different tracks together!

I was equally surprised to see that, unlike most music concert, there was no music sheet placed needed throughout the performance. The organist played everything from memory, which made me wonder whether there was a level of improvisation in his performance.

"When I'm playing the organ, I'm dealing with the 'machine'... and I had no attention paid to the audience," explained Carpenter during an interview. His comment surprised me, as I had always understood musical instrument as an extension of the musician's body, similar to how a painter would use a brush. However, his statement made me consider the extent to which this "machine" mentality affects the music he delivers to his audience. Could this be one of the reasons why I sometimes find his arrangements a bit overwhelming, leaving only little room for the music to breathe?

As the first organist to have his album nominated for a Grammy Award, Carpenter's playing style deviates from the traditionalists who came before him. His performances showcase the full range and versatility of the pipe organ, as he fearlessly explores new sounds with dazzling techniques. His innovative approach to the organ has helped to modernize and revitalize the instrument, bringing it to a new generation of music lovers like myself.

After attending Carpenter’s concert, I’ve begun to see the true colour of the pipe organ. While I can’t picture myself playing a pipe organ, I do look forward to see how the organist will continue to explore the full potential of this musical instrument that he took off the altar and onto the centre stage.

A closer look at the different stops that Cameron Carpenter used throughout his concert.

The keyboards of the pipe organ at Weiwuying, Kaohsiung city.

Cameron Carpenter Organ Concert
Date: March 5, 2023
Location: National Kaohsiung Centre for the Arts
Worth the journey: ★★★★☆