- Etude for piano No. 12 in C minor ("Revolutionary"), Op. 10/12, CT. 25
- "Evolutionary" Toccata and Fugue in D minor, for organ (after Bach, BWV 565)
- Octaves, for organ
- Mephisto Waltz (I & II), for piano No. 1 (Der Tanz in der Dorfschenke), S. 514 (LW A189)
- Love Song for organ No. 1
- Prélude and Fugue, for organ in B major, Op. 7/1
- Etude for piano No. 1 in C major, Op. 10/1, CT. 14
- Nun komm der Heiden Heiland (II), chorale prelude for organ (Achtzehn Choräle No. 8), BWV 659 (BC K82)
- Variations on a Theme from Bizet's "Carmen", for piano
- Homage to Klaus Kinski, for organ
- Get it by Thursday, August 24 , Order by 12:00 PM Eastern and choose Expedited Delivery during checkout.
Cameron Carpenter has already been compared to Fred Astaire and the Kronos Quartet, and for good reason. “I’m madly in love with performing, but not with the organ, or even most organ music,” he admits. “I was never interested in Virgil Fox or E. Power Biggs. But Nureyev, Liberace, David Bowie, Karl Lagerfeld, those guys are my heroes. The uninhibited, the unabashed, the creators, the personalities… the people who are their message, not their medium.”
Carpenter is no mere showman. Among organists it is generally accepted that he’s unmatched technically, and Revolutionary’s enclosed DVD shows what many audiences have already noticed: that his feet are as accurate, fast and musical on the organ’s foot pedals (as in Chopin’s Revolutionary Etude, wherein the left-hand part is played solely by the feet) as his hands are on the keys.