Ten years on from his first recording for Delphian of the (then) newly restored Norman and Beard in the Usher Hall, Edinburgh’s City Organist has released another appetisingly well-balanced mixture of short(ish) original works – including two premiere recordings, effective transcriptions, lighter fare, as well as three solid helpings from the mainstream repertoire. On paper some of the juxtapositions look a little bizarre: Sherman Myer’s breezy Johnny on the Spot, for example, shouldn’t really be rubbing shoulders with three hefty chunks of Widor’s Fifth Symphony, but it all works wonderfully well.

It helps that Kitchen has the innate musical ability to switch between these diverse idioms with great ease and to project the music to the back of the stalls, which, in fact, were removed from the Hall’s floor for this recording, thereby giving this gorgeous 63 stop leviathan (which is celebrating its centenary) an even greater bloom and tonal magnificence.

Three pieces have campanological associations. Cecilia McDowall’s attractive opener, Church bells beyond the stars, makes suitably sparkling play with the higher reaches of the keyboards and proves a worthy companion to SS Wesley’s evergreen Holsworthy Church Bells (which features the organ’s two-octave Carillon) and Bernard Rose’s miniature (and palindromic) Chimes. The heft of the diapasons and the incision of the reed chorus come to the fore in the Guilmant and Jeremy Cull’s superb transcription of the MacCunn overture. By contrast, Clifton Hughes’s Rudolph variations are lit by some tasteful theatre-organ hues and Kitchen concludes with a richly registered account of the Bach Passacaglia and Fugue which shows just how versatile both player and his instrument are.