Of special significance during these nine years were his visit to Franz Liszt in Weimar (in 1884 - when his interpretation of the piano sonata op.6 received the Master's blessing of his chosen career), his increasing engagement as a concert performer (notably a memorable appearance in the Dreikönig-Church in Dresden), as well as his marriage in 1889 to the Swiss Contralto Julie Bächi (they embarked on joint concert tours in the years 1889 / 90).

Besides the general upheavals throughout society after 1945 and the anti-romantic atmosphere in church music, these circumstances may also have contributed to the fact that Fahrmann's oeuvre has practically vanished.

Again and again, during and at the completion of each cycle, Fahrmann engaged in dialogue with the public and published reports in technical journals about his experiences and opinions, especially regarding the presentation of Bach's organ works.

The terms Father of the Saxon organists and Fährmann-School were current at the time; even at Helsingfors (Helsinki today) in Finland there are traces of Fährmann's activity and influence as a teacher.

He belongs to those musicians whose false modesty must appear blameworthy to all, who have recognised out of which kind of wood this hard-edged artist is carved, who have come to love him, because he has given us in his works ... [of] so infinitely much beauty and profundity.

Contrary to his famous contemporary Max Reger, who had founded a brilliant interpreter and sponsor in the person of Karl Straube, the organist of St Thomas's Church in Leipzig, Fährmann worked alone and modestly in his native Saxony.