Why is it that church organs are so important not only to the communities they serve but to Malta as a whole?
Simply because they date from an era when Maltese music was equal to any in Europe, though they did not become known beyond the island because of geographical limitations.
Thanks to a handful of researchers and performers, most of them Maltese, more people in these islands are rediscovering their classical musical heritage.
But for all the old organs that have been saved, how many have been neglected, lost or destroyed? Only about two-fifths of church organs are playable.
In some ways, the fact that money was not plentiful has been a blessing, because the old organs were never replaced and rarely altered beyond recognition when restored.
They have remained, often unplayable, rotting in their galleries. There are organs lying neglected, awaiting their resurrection - unique instruments like the little Italian `positivo` in the old church of Sta Venera, and in Gudja, Ghaxaq, and in the oratory of St John`s Co-Cathedral in Valletta.
They are the last of their kind and are irreplaceable.
The restoration by Robert Buhagiar of the 1778 Italian `positivo` organ has given Qrendi a musical treasure of which it can be justly proud.
The ringing, glittering tone of the pipework, nearly all of which is original, and the sweetness of the flute stops, make the organ perfect for those pastorales and sinfonias by 18th century Maltese and Italian composers.
To hear such pieces played at Qrendi, or even a greater joy, to be able to play them there is a revelation. The organ encourages organists to make good music: surely this is a sign of an extraordinary instrument.
Even the two rope handles to work the bellows are there, though toil and sweat have given way to a discreetly placed electric blower, the only thing in the entire organ that is not mechanical.
The 1774 organ at Naxxar that was also restored by Robert Buhagiar is quite masculine, too, in contrast to the later organs at Siggiewi, St Augustine church in Valletta and St Lawrence in Vittoriosa, which are more like sophisticated ladies: graceful and elegant.
Although Mr Buhagiar has retained some late 19th century additions and alterations, the organ is essentially still a late 18th century Italian style instrument.
To anyone whose senses are dulled by the constant din in which we live, Naxxar organ`s tone is refreshingly clear and sharp.
"Ah," the parish priest might say. "There is no one to play the organ, so why restore it? An electronic organ will do!"
Firstly, an electronic organ will only last around 15 years, which is not sound economic sense when an old organ, once restored, will last well over 50 years.
There is a bigger outlay definitely for the restoration, that`s true, but the minimal running costs and cultural considerations far outweigh a short term solution.
Secondly, good old organs will attract organists like moths to a lamp. Young parishioners will be proud to become part of a continuing tradition bringing to life an instrument that had been a part of village life for so many years.
You will not want for young organists as long as you have organs, because fine old organs never lack friends!
Thirdly, and perhaps importantly, organs are the instruments that have helped generations of Maltese give music and form to their worship and in skilful hands have inspired and maybe brought them closer to heaven.
Now that so many old organs are neglected and silent, is it not part of our duty to help them speak out once again for the glory of God?
Born in Norfolk, England, composer Nick le Neve Walmsley, 42, is particularly interested in the revival of late 18th and early 19th century Neapolitan, Sicilian and Maltese music.
He took part in this year`s Valletta Festival of History and Elegance, giving recitals at St John`s Co-Cathedral and St Paul`s Anglican Pro Cathedral in Valletta, St Lawrence church in Vittoriosa and Xaghra basilica in Gozo.
A secular cantata he wrote for double choir, organ, piano, orchestra and percussion was broadcast by BBC in 1994.