Review: Cameron Carpenter, Auckland Town Hall

Cameron Carpenter.

Cameron Carpenter launched his solo recital with the same gaudy encore that he gave us at his Auckland Philharmonia Orchestra concert.

Two nights ago, the American's fairground farrago involving a defenseless Bach prelude had a cheeky piquancy after a solid Symphonie Concertante; tonight was it a hint of more carnival antics to come?

Two Liszt piano etudes were mercilessly chopped and sliced in the endless quest for quirky colours and effects.

The sleek Feux Follets strayed into Barrel Organ Boulevard at one point; La Campanella capitulated in a flatulent blare of pedal leading to a veritable apotheosis of vulgarity.
Leonard Bernstein's Candide Overture is the epitome of mischievous and elegant wit - imagine Prokofiev schmoozing on the Manhattan cocktail circuit.

Carpenter took it to the country fair, and a bumpy ride it was with endlessly flickering registrations. It was fascinating to watch lithe footwork on the big TV screens, but painful to hear such stylish music downgraded to burlesque.

A bracket of original composition never strayed from the ordinary, often steeped in Tin Pan Alley's juiciest chord sequences, unfortunately without tunes to match.

Bach, played more or less straight, survived best. The G minor Fantasia and Fugue may have lingered a little here and there, but episodes were cleverly tinted and the Fugue a virtuoso turn, delivered, like most of the programme, from memory.

Loveliest of all was what the organist introduced as a dip back into childhood to play a piece from the catechism of all music. The G major Prelude from the first book of Bach's Well-Tempered Clavier was a dancing delight.

Marcel Dupre's Variations sur un Noel showcased the town hall instrument in what Carpenter had described as a musical fashion show. Ten variations and a Finale flitted by in ten easy minutes, brilliantly coutoured.

It was not a long concert and two encores were miniatures.

Chopin fared better than Liszt when Carpenter's feet pirouetted over the pedals in his Minute Waltz; followed by a Wurlitzer whirl through Anne Dudley's Jeeves and Wooster theme that bade us a final and fleet farewell in just over 90 seconds.