Volume 15 of Regent’s splendid English Cathedral Series takes us to York and the superb artistry of John Scott Whiteley, who has served the Minster with great distinction since 1976. His daily contact with this vibrant instrument ensures a sonic as well as musical treat. Whiteley is also filmed for Priory’s DVD, playing the Minster’s mobile nave console.

Regent’s programme opens with a magisterial account of Alain’s ecstatic Litanies, followed by a nicely contrasted Berceuse marine by Maurice Guillaume. Marie Joseph Léon Désiré Pâque’s Pièce ambles along agreeably (if slightly disjointedly) but more satisfactory is Bernard’s delicious Scherzo-Caprice. Another highlight is the Ravel transcription (from Mother Goose) which fits the organ like a glove. Dupré’s Cortège et Litanie is most beautifully shaped. The Organetto by Joris Verdin (b 1952) consists of seven short movements that parody those forms of composition possible on the 15th-century Italian portative organetto. It’s worth hearing once. The major work is Whiteley’s transcription of Cochereau’s Symphonie en improvisation (1963), a strong work, played with great verve. A thunderous opening movement and a tremendous Tarantella frame an elfin Scherzo and a meditative Adagio. The disc is a treat for the ear with first-rate notes and documentation.

Priory’s DVD programme eschews any music by York composers, though there is Charles Wood’s charming Prelude on York and the briefest extract from Francis Jackson’s Op 5 Impromptu. Instead, the emphasis is on the player’s physical interaction with the manuals and pedalboard. With reference to the latter, this performance of Thalben-Ball’s Paganini Variations should be compulsory viewing. Views of the Minster’s exquisite stained glass and clocks add flavour, particularly in Mulet’s Rosace and Mozart’s Fantasia, K608. The Cymbelstern stop adds tingle to Mushel’s fairground-like Toccata.

Although Elgar’s Imperial March suffers from a surfeit of rubato there is no shortage of élan in Cochereau’s thrilling Easter plainsong improvisation on Haec dies. I liked the authentically gallic tang to the tuning as the wind occasionally struggles to cope. Richard Knight’s camerawork is superb and Paul Crichton’s sound beautifully balanced and warm. A delightful production throughout.