Any opportunity to hear the glorious Hill, Norman and Beard organ of the Royal Hospital School at Holbrook, Ipswich, should be grabbed without delay. The mighty resources of this unspoilt Romantic survivor dating from 1933 are best suited to music on the grandest scale, aided by an immensely lengthy and lofty reverberation.

Throughout these 15 eclectic tracks Anna Lapwood makes the most of the organ’s sustaining power. The majority of the music is slow-moving, with many a gradual build-up of volume and a fondness for 8ft diapasons and fluffy flutes (which abound).

Organ transcriptions of piano pieces are nothing new. Chopin’s E flat major Nocturne floats along nicely and Debussy’s ‘Clair de lune’ suffers no lasting injury. However, the Bach/Gounod Ave Maria does little to lift the mood and is best ignored. Things improve greatly with Grain Moon by the Italian composer Olivia Belli, with its intriguing contrapuntal richness spun around ostinato patterns. Two of the most impressive and interesting pieces are a pair of organ originals by the Armenian composer Kristina Arakelyan: the gentle arch-shaped structure of Dreamland feels just right and Star Fantasy (a Lapwood commission) develops into a far-reaching French-flavoured fantasia of considerable substance.

Alas, Marianelli’s Dawn (from his 2005 film score for Pride and Prejudice) pales alongside the late Carl Davis’s iconic theme for the BBC TV adaptation. Ghislaine Reece-Trapp’s In Paradisum, while recalling a few elements of Duruflé’s superior treatment of the plainchant theme in his Requiem, stands repeated listening.

By far the strongest works here are Ēriks Ešenvalds’s Stars (with wondrous glass harmonica accompanying the Choir of Pembroke College, Cambridge) and a reworking of Max Richter’s On the Nature of Daylight, also featuring the choir. Here is the perfect soundtrack for a planetarium.

The most memorable track on the album, however, is Florence Price’s An Elf on a Moonbeam (1942) for organ. With its hints of late Karg-Elert and Vierne and a delicious whole-tonal harmonic palette, Lapwood luxuriates in its innocent beauty, playing it – as with everything else on this disc – with poise, enthusiasm and a dazzling technique.