Ferenc Liszt’s organ music is not only a particularly exciting and distinctive part of the composer’s œuvre, but also plays a significant role in the history and development of the world’s organ music. His works for organ have always been highly regarded at the Academy of Music that he founded, and it is perhaps no exaggeration to say that the Liszt Academy is still a leading centre for the study of the Lisztian organ style. This organ marathon, which consists of six concerts and a mass, will feature recent graduates of the institution, all of them distinguished church musicians and concert organists of their generation. In addition to large-scale organ compositions, such as Ad nos, ad salutarem undam or the B-A-C-H Prelude and Fugue, they will perform shorter masterpieces, as well as organ transcriptions of works by Liszt and others. It deserves a separate study how Liszt adapted his orchestral works for the organ, or, to reverse the problem, how the organ became a real orchestra in the hands of Liszt. Csaba Tasi’s concert is an excellent opportunity to ponder the question, with arrangements of Orpheus and the Dante Symphony on the programme, among other pieces.