Kid Yugi Paganini

The smasher of cultural and classical music taboos (LA Times) is releasing here his first recording with orchestra. Rachmaninoffs famous Paganini variations arranged for organ and orchestra by Cameron Carpenter himself. The album was recorded on the International Touring Organ, together with the Konzerthausorchester Berlin and Christoph Eschenbach A virtuoso composer-performer unique among keyboardists, Camerons approach to the organ is smashing the stereotypes of organists and organ music while 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.

Dynamic, the independent Italian record label, based close to Paganini’s birthplace in Genoa, has compiled this ten disc set of their previously issued Paganini recordings. It seems that several of these recordings were receiving their first recording. Although this box includes the complete edition of Paganini’s fifteen quartets for strings and guitar; the three string quartets and a number of other chamber works there is certainly much of Paganini’s chamber music not included here.

Since their inaugural presentation, Paganini’s Twenty-Four Caprices have consistently garnered admiration from audiences, with their mesmerizing effect attributed to the exceptional technical proficiency demanded of the performer. Conversely, it is uncommon for performers to project anything other than their own instrumental excellence, with the technical content of the performance becoming the primary focus for listeners. François Sochard, concertmaster of the Orchestre de chambre de Lausanne, has risen to the challenge with his first solo album, which is as sensitive as it is daring.

In my own compositions, no conscious effort has been made to be original, or Romantic or Nationalistic, or anything else. I write down on paper the music I hear within me, as naturally as possible…

These performances, dating from the 80s when the young Russian pianist was at his peak (he soon withdrew himself from the music scene), are among the best for Rachmaninoff's music.

Since their inaugural presentation, Paganini’s Twenty-Four Caprices have consistently garnered admiration from audiences, with their mesmerizing effect attributed to the exceptional technical proficiency demanded of the performer. Conversely, it is uncommon for performers to project anything other than their own instrumental excellence, with the technical content of the performance becoming the primary focus for listeners. François Sochard, concertmaster of the Orchestre de chambre de Lausanne, has risen to the challenge with his first solo album, which is as sensitive as it is daring.