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Robert Delcamp
American Record Guide, July 2016

Winpenny is a fine player and delivers satisfying performances of all these pieces. © 2016 American Record Guide Read complete review on American Record Guide

Rupert Gough
Choir & Organ, July 2016

…Winpenny delivers a fine performance and lets Messiaen’s intensely personal expression of faith speak through the music without getting in the way. © 2016 Choir & Organ

Christopher Dingle
BBC Music Magazine, June 2016


[Tom Winpenny’s] phrasing is exquisite…

…[his] finely judged choice of colours should be applauded, making full use of the organ of St Giles, Edinburgh. There is a natural flow throughout… © 2016 BBC Music Magazine

Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, April 2016

Tom Winpenny gives us a beautifully dramatic reading of the works in all their glory. © 2016 Gapplegate Classical-Modern Music Review Read complete review

Stephen Smoliar, April 2016

…Messiaen was clearly comfortable with highly chromatic harmonies and the rhetorical impact of their dissonances. He also knew how to capture the stillness of quietude, perhaps reflecting the almost insignificant smallness of the man on the bench in control of massive ranks of pipes that dwarfed his own size. © 2016 Read complete review

Jean-Yves Duperron
Classical Music Sentinel, April 2016

Organist Tom Winpenny, Assistant Master of the Music at St. Albans Cathedral, has certainly chosen a fitting instrument for this music, and knows precisely how to manipulate and combine its many stops to produce the desired effect. …He also clearly brings out this magnificent organ’s power and brilliance in the impressive Transports de joie. And his choice of stop combinations in Offrande au Saint-Sacrement lends that piece an ethereal sound I had never experienced before. In other words, he’s managed to create a sound recipe perfectly suited to the character of each and every one of these mysterious works. © 2016 Classical Music Sentinel Read complete review

David Denton
David's Review Corner, March 2016

It was his six early organ works collected on this disc that established Olivier Messiaen as one of France’s leading composers of the Twentieth century. Many would equally say that they came at a time when his style of composition was totally communicating with his audience, his creation of colours mixing with an almost static quality that was to over-dominate many of his later works. Listening to this collection,  I could not argue with that assessment, the works in order of composition beginning when he was twenty with Le Banquet celeste composed only months after he had first seen an organ console as a piano student at the Paris Conservatoire. Yet you know instinctively who composed the work, for it has his fingerprints in every bar. Two more works were also started in 1928, the Diptyque, opening in activity but ending in Messiaen’s world of eternal peace, while the Prelude covers much of the same moods. The massive sounds of Apparition de l’Eglise eternalle make a thrilling conclusion to the disc, but it is the massive L’Ascension, in its four varied moods, that is, to my mind, his greatest achievement. The performer here is one of the most gifted of the UK’s young organists, Tom Winpenny, and he extracts from the Austrian-built organ in Edinburgh’s St. Giles Cathedral, a wide range of sonorities, the quiet ones of a very beautiful quality, though I do so wish that he had the authentic sound of a French instrument. © 2016 David’s Review Corner

Brian Wilson
MusicWeb International, March 2016

…a fine performance which emphasises the spirituality of Messiaen’s theology. © 2016 MusicWeb International Read complete review

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