Jonathan Vaughn’s debut solo recording is not only a well-chosen bicentennial tribute to the genius of Wagner but a timely reminder of Edwin Lemare’s ingenuity. Here are nine of the 21 transcriptions of Wagner’s music that Lemare produced (mainly) during his tenure at St Margaret’s, Westminster, in the 1890s. To reproduce the many orchestral effects, colours and details entailed devising a whole range of new techniques – rapid changes of registration, playing on two manuals with one hand and so forth.

St Mary Redcliffe’s four-manual 1911 Harrison and Harrison is the ideal instrument, comparable tonally to the three-manual Walker & Son at St Margaret’s. Furthermore Vaughn, currently assistant organist at Wells Cathedral, is comfortably equipped to deal with all of Lemare’s sleights of hands and feet. He makes an impressive fist of the Overture to Die Meistersinger, more clearly defined than Hansjörg Albrecht’s recording (Oehms, 6/13) in a spacious acoustic, and in the Prelude to Act 1 from Lohengrin and Siegfried’s Funeral March Vaughan produces sensitively graded dynamics. But one thing is missing: the tingle factor. I wonder if Vaughn is yet quite enough of a showman to make the most of the Prelude to Act 3 of Lohengrin or Lemare’s best-known transcription, the Ride of the Valkyries, in which the constant dotted quaver/semiquaver part of the main theme is an essential element but not articulated clearly enough here. Turn to Thomas Trotter (Decca, 4/94) for the required rhythmic swagger.