In 1928 Günther Ramin, organist of St. Thomas, Leipzig, and thus someone with great influence in the lively and energetic spheres of church music, organ-playing, and conservatory education, published one of the many essays inspired by the decade's newer attitudes to organs and organ repertory. His pamphlet includes the following remarks:

Our period is moving rapidly in regard to evaluation and reassessment of artistic complexes, and one is almost taken aback at how big and far-reaching the Organ Renewal Movement has become in the space of six years. May this [haste] not be a sign that this renaissance has come about as one of the many spiritual currents of fashion in the post-war era, rather may the true kernel and genuine enthusiasm of this process of change be preserved! 1