Two organ pieces by English composers of different eras. If you like the sound of an eighteenth-century English organ untainted by German influence, this will be your sort of thing.
Gramophone, again, is quite helpful here:
Noel Mander’s sympathetic restoration ten years ago in no way changed its tonal qualities, and it remains an instrument of great historic interest and beauty. The trumpet is quite as good as any continental reeds of the period, although completely English in treatment; the cremona has an authentic krummhorn flavour. The diapason chorus is wonderfully full, clear and ringing, and Cecil Clutton believes it to be one of the finest to be heard in London. The cornet is a splendid specimen: a five rank solo stop consisting of a stopped eight-foot rank, principal twelfth, fifteenth and seventeenth, with a compass from middle C upwards.
Oh, OK, that meant almost nothing to me, but here is one detail that does: if you listen carefully, in the quieter passages of the Fantasia you can hear the tweeting of nesting sparrows. These sparrows were immune to the efforts of the recording engineers, and so remain a part of this recording, as they should.
Fantasia for Double Organ (Orlando Gibbons) (1583-1625)
Air & Gavotte (Samuel Wesley) (1766-1873)