The February 2026 issue (volume 122, no. 1) opens with an article by Kees Weggelaar and Jan Smelik on the relationship of the composer and music critic Willem Pijper (1894–1947) to the organ. Although Pijper left no works for the instrument, biographical evidence and his interwar reviews reveal how critically – yet with sustained engagement – he positioned himself in relation to the organ and organ culture.

In his column, Jos van der Kooy focuses on the concept of historical sensation: the personal and emotional engagement with history and heritage, with particular reference to historic organs.

The issue further includes a substantial article by Martin Moree on Johan van Dommele, examining his compositions, pedagogical significance, and place within Dutch church music. The question of whether 'sober yet musical' may also serve as a characterisation of Van Dommele's own oeuvre runs as a unifying thread through the discussion.

Frans Jespers interviews Wim Janssen, former voicer at Verschueren Orgelbouw. Janssen describes the craft of voicing through the metaphor of the conductor. Auke H. Vlagsma continues his series on seventeenth-century French organ façades.

In the article The Art of Organ Pedagogy, Annemiek Zeldenrust discusses a number of organ methods from the Netherlands and Germany, analysed from both didactic and musical perspectives. In the Orgelpark section, Hans Fidom draws attention to the course offered at the Orgelpark.

The Organ-building News section, compiled by Gerrit Hoving, reports on restoration projects in Helmond, Heythuysen, Kapelle, and Oirschot. In addition, the issue contains an article by Sietze de Vries on the De Rijckere organ in the Church of St Augustine in Middelburg. On the back cover, Frits Zwart continues his portrait of Jan Hendrik Storm with the second instalment of Storm in the Tower and at the Organ: A Man of Many Talents.