Schumann’s studies in counterpoint during 1845 climaxed in what he described as a ‘Fugenpassion’. He rented a pedalboard attachment for his piano to extend his music’s textural possibilities and to help familiarise himself with organ technique. The resulting character pieces are amongst the most attractive examples for this instrument, and they translate so successfully to the organ that they have become a significant cornerstone of the repertoire. They are performed here on the historic and recently restored Furtwängler organ in Gronau, Germany – an instrument with a wide palette of colours that is well suited to Schumann’s expressive works.

Tom Winpenny’s recordings for Naxos include ‘impressive precision and clarity’ (BBC Music Magazine) in Messiaen’s La Nativité du Seigneur (8573332), music by Malcolm Williamson (857137576) and two volumes of organ works by Judith Bingham (8572687 & 8574251), in which he opens an illuminating window on Bingham’s richly-coloured, programmatically driven engagement with the ‘king of instruments’. Winpenny’s contributions to our Organ Encyclopedia series also includes a recent recording of Francis Pott’s Christus (857425253) in which he ‘plays this magnificent music with matching brilliance and flair’ (Cathedral Music) and gives ‘a truly spectacular performance’ (American Record Guide).

Booklet notes for this release have been written by Tom Winpenny, and there are additional notes on the organ used with full specifications of its impressive range of registers.