The installation of a new pipe organ, like any long-awaited new arrival, is always best marked with some kind of celebratory fanfare such as this splendid, generously filled disc. The programme has been designed to show off the best features of the 45-stop Hermann Eule organ in the chapel of Magdalen College, Oxford. Although it lacks a warming 32ft pedal register, it does have that all-important crowning Tuba stop and is more than capable of coping with the accompaniments of the mainstream Romantic sacred choral repertory. Three organists put it through its paces, the lion’s share falling to Alexander Pott, the Assistant Organist.

The opening track, James MacMillan’s A New Song, grows slowly, aided by long drones à la Tavener, before Jonathan Dove’s Seek him brings out more coruscating sonorities. This modern classic, with its attractively memorable earworms, receives a glorious performance. Balfour Gardiner’s Evening Hymn is equally enjoyable, beautifully paced. The energetic motet Insane et vanae curae – allegedly by Haydn – makes an excellent foil to Malcolm Boyle’s Thou, O God, with its luxurious organ introduction. As might be expected, Marcel Dupré’s Laudate Dominum makes considerable demands on the organist, happily conquered.

The Dupré and Stanford pieces are revelatory. The latter dates from 1914 15 and sets a text from the book of Habakkuk. It is a substantial work, slightly reminiscent of SS Wesley’s sectional approach to the extended anthem, with moments of captivating dramatic turbulence. It also features important parts for tenor and treble soloists, treble Blaise Durodie making a good job of negotiating some awkward intervals. Finally to Parry’s evergreen Blest pair of sirens. This sweeps along magnificently under Mark Williams’s direction, with some satisfying quasi-orchestral colouring details in the organ part and a beautiful choral blend.

Another triumph for the Magdalen musicians and an equally enjoyable experience from both choral and organ points of view. Here’s hoping that this shining release helps to put the instrument on the map and ‘in perfect diapason’, as Milton put it.