THE word "inaugural" has something rather hard and unforgiving about it.

But, as the Dean pointed out in his introductory address, the inaugural recital of the Hereford Cathedral organ this was intended rather as a "gala" occasion, with all that word brings with it of relaxation and enjoyment. And so it proved to be.

One very welcome innovation was the setting up of a large screen on which we could see what Dr Roy Massey was doing to produce the sounds we were hearing (he admitted to feeling "invaded", but if the invasion affected him in any way, it wasn't visible to me).

There may have been some in the audience who were surprised at how little visible effort he seemed to be making in music of often startling difficulty. But then it's the same with an expert wood-turner or glass-blower: not a lot seems to happen, but all of it is right.

The camera aimed at Dr Massey's feet was particularly instructive, in showing how not even the most complex manoeuvres unsettled his composure or his posture.

Experience also told in the way the programme was put together. Flamboyance and volume were craftily juxtaposed with some of the delightful quiet stops that have always been one of the glories of this glorious organ - the Four Old Polish Dances by Johannes de Lublin were particularly enjoyable on this front.

Historical relevance brought us Bach's G minor Fantasia and Fugue and Walter Alcock's Introduction and Passacaglia, and the evening concluded with Dupr's Variations sur un vieux Nol, sporting dissonances that must have raised a few eyebrows at their appearance in 1922.

Well, not quite concluded. Dr Massey finally brought out the glockenspiel on the solo manual as a chocolate mint after this feast of sound, which showed both organ and organist in superb fettle.

Warm and prolonged applause left no doubt of the audience's appreciation and gratitude, both to the organist and to all those who have masterminded and executed this splendid enterprise. Roger Nichols