Without any doubt it has to be the central concern of today’s Slovenian organists and friends of the organ, not to repeat the same mistakes that have been committed in the Western countries from the 1950es to the 80es. Slovenia after decades of silence during the socialist era has to and is able to directly take over the high Western standards of organ culture and cultivation of the organ scene. The word “organ” has to be understood subtly differentiated: it’s a term that stands for many sometimes totally different types of instruments, of which any reflects a different world of ideas and represents a clear picture of the genius of its period. Any type of organ has its right to be treated with equal care by the orderer and the consulting expert, by the organ- builder and finally by the interpreting organist. Those who struggle for a differentiated, historically and stilistically well-founded access have still sometimes to face criticism.

An important object (among others) therefore is an immediate, well- aimed education referring to these problems for the younger generation of Slovenian organists according to Ahrend’s words: “… you need organists who are ready to listen to the instrument. I take the good taste of the organists… for a really important pillar of organ culture.” J.-C. Zehnder’s statement that for organists who have been educated like that “… the congruence of instrument, sound, music and body-awareness suddenly becomes delightful, noticeable” is an important leading idea of our society.

An animated exchange of ideas with renowned experts and interpreting musicians within an international scope proves to be absolutely necessary.