Naxos have shown good judgement here. Interest from the super-budget end of the market is ensured by the inclusion of those all-time organ pops, Widor's Toccata and Boellmann's Gothic Suite. Indeed, nobody is likely to be disappointed with Lindley's performances of these the Boellmann in particular gets as sturdy and invigorating a performance as one could hope for, although the Minuet does seem a little cloudy—and it's a pity that Naxos haven't distinguished the individual movements with separate tracking or index points. The remainder of this hugely enjoyable programme should appeal to the more specialist collector: it's good to welcome to the catalogue Paul de Maleingreau's Suite mariale as well as Langlais's Trois meditations.
Lindley plays exuberantly, with a most endearing sense of fun, not least in a sparkling account of Charpentier's Te Deum Prelude (a shame the glorious Leeds Trumpet wasn't totally in tune for this): his playing has a directness of communication which makes this disc ideal for those exploring organ music for the first time. At the same time there is enough sensitivity and interpretative insight to make these performances stand proudly in any company. I like the sound of the Leeds organ, although clarity is not one of the most memorable aspects of this recording. Let's just say that an impression that the pipes have to peer through swirling fog en route to the microphones adds atmosphere.
A word of warning; the tracking details on the inlay card contradict what is programmed on the disc itself.'