Deborah Calland has established quite a niche for herself at a time when the trumpet is enjoying prominence as a primary colour in many contemporary musical landscapes. Her sound is assured and communicative, at once raunchy in the compelling Three Orations by Huw Watkins and John Hawkins’s Sortie, yet innately lyrical with all the risks inherent in Rhian Samuel’s and Robin Holloway’s exposed and atmospheric creations.

Far from a heavy-going recital of an unfashionable duo medium (at least in this country), Calland and the prize-winning organist William Whitehead seek out vibrancy of timbre and a definition of character rarely achieved in reverberant buildings, where the best organs tend to reside. Only the beginning of Diana Burrell’s North Star lacks the ideal focus, though its sparkling constellations are dynamically conveyed; this is bound to become a successful concert piece. The moving juxtaposition of ominous fanfares and tombeau-laden gestures in Rhian Samuel’s Threnody with Fanfares is performed with a keen ear for its skilful juxtaposition of vulnerability and assertiveness.

Crystalline immediacy in Douai Abbey and a sense of intimacy (relayed with special contemplative warmth in James MacMillan’s initial forays into organ music) allows Whitehead to present the two solo organ works with his highly accomplished sense of pacing. The second, Into the Silent Land by Ruth Byrchmore, is a laterally conceived and evocative work (though a little too long). Whitehead’s control of tension is exceptional.

The piece de resistance is Holloway’s challenging Canzona and Toccata which reveals a close interaction between the performers, Calland’s imploring upper reaches (perhaps her tone is generally less settled in the lower register) and highly effective recorded sound.