In contrast to the grand scale and public profile of his orchestral and choral works, Johannes Brahms saw the organ as an instrument ‘for home use’, and one in which he confided his most intimate feelings. The earlier pieces were exercises in counterpoint inspired by Brahms’s friendship with Clara Schumann and, despite their academic titles, they are infused with distinctive musical ideas and lyrical expressiveness. The later Chorale Preludes with their themes of suffering and death can be seen as autobiographical, the elder Brahms seeking spiritual strength in the ‘pure style’ of the Protestant tradition.

We are delighted to rediscover this music with the Naxos debut of virtuoso organist Konstantin Volostnov. This new recording is distinguished not only by superlative musicianship, but also by being one of, if not the first commercial recording to have been made at the three-manual organ of the Central Baptist Church in Moscow.