Organalia starts in 2002 with the temporary entitling Vox Organorum and with the aim of enhancing the organa s musical instrument, cultural heritage and medium for the spread of organ literature.
In fact, as everybody knows, the organ starts basically as instrument of support for liturgy to sustain chant or for performance of pieces, appropriate for different religious celebrations.
This use, still, it is only one aspect of the practical qualities of this instrument> organs, in fact, are equipe with both registers for the accompaniment of liturgical type and registers for concert, that normally for their characteristics are not included during the same celebrations.
As a consequence the necessity of listening to the organ in its entirety can be represented exclusively during a concert performance, where the interpreter can plays these registers that imitate musical instruments usually used by orchestra. Depending on the historical period of instrument’s construction, organ makers have realized registers for the time’s taste.
Thanks to Organalia, it is sparked off a musical circuit, really virtuous, that has come back in churches lovers of organ music and has moved closer, at least for curiosity, those who have heard of it, but for their youth cannot known the magnificence and the complexity o fan organ performance.
The organist, in fact, is a musician that, more than the others, must coordinate the use of hands with feet, playing at the same time on more manuals and on pedal keyboard. The rediscovery of organ music ha salso originated the desire of restoring those instruments that often were used at least of their possibilities and that through a patient and qualified work of restoration went back to their original glory.
The modern study of musical instruments, in fact, encourage and has a preference for the philologic restoration in order to bring back to the original phonic those sounding instruments that in time were often object of infringement, result of taste of different time.
The return to original organs has allowed the fruition of instruments that, exactly because interventions elapsed most of all between XIX and XX century, have lost their original characteristics, result of Italian Baroque culture.