In a world like the present, in which the figure of the virtuoso has gained such weight that it would be said that music sometimes occupies a secondary place in the face of technical exhibitionism, it is an increasingly unusual pleasure to find phonograms in which it is the art the protagonist. If it also happens that the recording has been made with an instrument that is in itself a work of art, the pleasure is multiplied because of its own uniqueness. This is the case of "Hic Est Organum", a selection of pieces recorded in the new Grenzing organ of the church of San Pedro Apóstol, in the Asturian town of Pola de Siero, under the impeccable interpretative criteria of the maestro Antonio Díaz Corveiras.As a sample of what a small instrument - but well solved by the team of organeros led by Gerhard Gernzing - can offer, Corveiras transports us in a carefully designed musical journey that has its beginning in the 15th century, with a transcription of vocal music performed by the organist himself and which serves as a perfect portico to the course that continues with pieces of -among others- Ruffo, Froberger, Bach, Walcha and Langlais. Precisely in the Fantasia sopra sol the Froberger re we find, just before the end, one of those surprises that provoke a smile in the listener, and that we will not disclose so that it remains exactly that, a surprise, but that pushes us to sincerely wish -with permission from Kavafis- that the road is long. We are also struck by the overwhelming and pitiful Passacaglia by Merkel, of unavoidable Bachian inspiration but impeccable artwork, and the extracts from the Homage to Frescobaldi by Jean Langlais, the last stop of our musical journey, in which we are shown an organ of multicolored sonorities and unexpected rotundity in an instrument of that size, an instrument capable of all timbres, of all colors, of all nuances .. It is not an album for all audiences, it requires a listener attentive to details, who does not conform to the voluptuousness of the romantic melody and faces equally the challenge of ancient and contemporary music. It would be said, in short, that it requires the listener almost as much as the organ requires of the organist, but those who know how to appreciate it will find in it a redoubt of art, art in capital letters.