Flagged as Organ Fireworks!, committed organ punters might have feared endless flashy novelties, but David Goode is far too sensible and sensitive a musician for that.
He even gave us some Bach, his own arrangement of the Third Brandenburg Concerto no less, as a light-fingered and fleet-footed opener.
More, and better, was to come. By the time he got to George Thalben-Ball's Variations on a Theme of Paganini, via some subtly coloured Karg-Elert and Liszt transcriptions, Goode was well into his stride.
This unique composition - for pedals alone with a toccata finale - by Birmingham's illustrious former City Organist is tremendous fun, especially when heard on an organ as transparently voiced as the Symphony Hall Klais.
Goode threw off the work's crippling (ask any organist) demands with effortless brilliance, making far less heavy weather of it than even the great man himself did sometimes on the Town Hall's old William Hill instrument.
Goode also made spectacular use of the fabulous Klais resources in Lemare's version of The Ride of the Valkyries. As warhorses go - and this one goes all the way - it sounded even more highfalutin, and unintentionally hilarious, as Wagner's original.
In the French second half Goode satisfied serious musical tastes with an ecstatically relished Joie et Clart> des Corps Glorieux of Messiaen, and bored at least one listener silly with Roger-Ducasse's Pastorale and Vierne's finger-twiddling Na'ades.
All was redeemed, though, by a beautifully registered and elegantly sculpted account of the first-movement variations from Widor's Symphony No 5, and the famous Toccata. For this ubiquitous showpiece Goode adopted exactly the right speed to maintain its impetus and all-important staccato articulation. Measured it may have been, but far more exciting and majestic than a typical whiz-kid's reading.