Pasacailles II, I Tono - Cabanilles

Passacaglia In D Minor - Buxtehude

Here Be Dragons - John McLachlan

Passacaglia & Fugue In C Minor - Bach

Basso Ostinato, Op.8 No. 2 - Krause

Toccata, Chorale & Fugue - Kevin O'Connell

Ik Ook - Philip Glass

It is a tribute to performer and composer that the two longest works in David Adams's programme, those by Bach and by Kevin O'Connell, should seem the shortest. Perhaps the greatest proof of the performer's skills, however, was the way in which he gave unusual and unexpected intensity to Philip Glass's Ik Ook.

This piece was composed on a computer and contains more notes than an organist can manage, but the transcription, by Adams and Donnacha Dennehy, did not appear to be lacking. (The title means "I also" in Dutch.)

As well as this almost-premiere, the works by O'Connell and John McLachlan, both genuine premieres, gave strong representation to recent music in Sunday's recital, the last of the summer concerts in St Michael's.

Both of these Irish works were in the organ tradition, but O'Connell's Toccata, Chorale & Fugue seemed more easy with the tradition, even if it culminated in a chord of diabolical dissonance, whereas McLachlan's Here Be Dragons seemed to waste some energy in fighting against the idiom.

The use of a repeated bass in the Pasacailles by the 17th-century Spanish composer Cabanilles and in Buxtehude's Passacaglia was, it seemed, an ingenious device to provoke variations, as was the Basso Ostinato of the 20th century romantic Paul Krause, but in Bach's Passacaglia & Fugue In C Minor the bass has such nobility that it directs the composition, permeating the structure. The performance realised the full power concealed in the music.