In the longevity stakes organists have a record prouder even than that of conductors, with Ivor Atkins (more than half a century at Worcester Cathedral) and George Thalben-Ball springing to mind.
Fast approaching his 89th birthday, Francis Jackson, Organist Emeritus of York Minster, is still busy as a recitalist.
On Sunday he visited Emmanuel Church, whose Boys' Choir have sung at the Minster for some two decades, and with a vigour belying his years, conjured remarkable registrations and arresting dynamic levels from the wonderfully restored Willis instrument there, everything splendidly captured by the church's fine acoustic.
Naturally there were some fingerslips, something that can happen at any age, but there was also a supreme elegance of chording, and an ability to make the instrument communicate through a kaleidoscope of colours.
Jackson began with an atmospheric, dramatic Bach G minor Fantasia and Fugue (spooky, this, as I'd been singing it to myself all day, without knowing Bach was on the programme), following this sturdy piece with the comfortable Victorianism of Henry Smart's Andante in E.
Paying eloquent tribute to his teacher Edward Bairstow, Jackson gave a thoughtful account of his Sonata in E-flat, given its premiere by Willis Grant, later to become organist at Birmingham Cathedral.
Then came three Hymn Tune Preludes by Jackson himself, composed as recently as last year, and described by him, borrowing from Rossini, as "sins of my old age".
Sins they certainly are not, encompassing a range of styles, almost bluesy at times, and laden with affection for these great examples of hymnody.
Gigout's Scherzo, deftly given, ushered in an account of Liszt's Fantasia and Fugue on B.A.C.H. which was simply tremendous, rasping and rolling in fistfuls of pianistic cascades.