The story of Elizabeth Day is an extraordinary one by any standards. Having begun the piano at a young age her interests became more and more stimulated by the organ. At 14 she took up the post of St Martin's in Dundee. Not long after that she damaged her right hand, so proceeded to play with left hand and pedals only, not a single member of the congregation noticing any difference.

She became Assistant Organist at St Paul's Cathedral in Dundee two years later. At first I arranged the music lists so that not too many demands were made all of a sudden. Elizabeth sussed this out and came to me and said put down what I like in the choir's vast repertoire, she would cope.

From an early age she was determined to become a primary school teacher, and this she did, firstly in Dundee and later in Edinburgh. Needless to say, she was very highly thought of. But her steely resolution to become an even better musician never left her.

Her life pattern changed and took her to London where she had lessons with some of the best teachers available. In a recent FRCO exam she won both the Turpin prize and the Durrant Prize.

Her playing is impeccable, both brilliant and highly musical, with ever nuance of phrasing and rubato carefully brought out and full use was made of the fantastic organ. I did not detect one wrong note.

She began with two Bach Chorale Preludes on Komm, Heiliger Geist, Herre Gott.

These were followed by the Voluntary in D minor of Purcell and a Pavana by John Blow. The story of Blow's stepping down from Westminster Abbey to make room for Purcell is well known, as is the story of Henry's wife locking him out when he arrived home absolutely and helplessly drunk. He died of hypothermia, whereupon Blow took up the reins at the Abbey once again.

A fantastic performance of Franck's Third Choral finished the programme. This was both thrilling and haunting at exactly the right moments. Although the easiest of the Chorals, it presents several quite difficult musical problems, none of which were apparent to the listener. Vaughan Williams Rhosymedre, in effect a choral prelude on the hymn tune Lovely, relaxed us all down again.

Then came a short piece by the Edinburgh composer Michael Garrett, given its first performance on this occasion. It was called Epithalamion which, we were told, was a representation of the various stages of a wedding. It was very fine, and evoked many memories in those of us who have played for many weddings, including the lateness of the bride and the chattering of the paying customers. She and her groom went out in thrilling style.

Finally we had three movements from Fiesta by Iain Farrington. These are short and very clever, and the Finale was wonderful.

Two slight matters of difference. The Purcell would have not been played on an 8', 4' and 2', but would go up to at least two mixtures with the seventeenth included, plus an independent tierce. This is hard to do at St Giles' as the organ is at least six times as loud as any in Purcell's day, but I think it could have been done. Secondly in the lovely middle section of the Franck when the melody passes down there is an instruction to put in the Swell Trumpet. Elizabeth did not do this, quite possibly an oversight, but it did upset the balance, even more so as the Swell was still coupled to the Pedal.

This was organ reciting at its very best and we look forward to a return visit very soon.