{TABLE} Fantasia in G, BWV 571 ....................................... Bach Nun komm' der Meiden Heiland, BWV 599; 659; 660; 661: 699 .... Bach Concerto in C BWV 594 ........................................ Bach Herr Jesu Christ, dich zu uns wend, BWV 655 .................. Bach Jesus Christus, unser Heiland, BWV 665; 666 .................. Bach Toccata and Fugue in D minor, BWV 53 ......................... Bach {/TABLE} IN HER recital at the National Concert Hall last week Gillian Weir lived up to her reputation as an organist who can combine vivid panache with natural musicality. Her programme, presented as part of the hall's all Bach series, included some of that composer's most extrovert and most intimate music. Weir's capacity to do justice to these extremities, and to everything in between, was one of the most rewarding aspects of the recital.

The apparent ease with which she embraced such broad expression is a true case of the art which hides art. Each piece was played in a distinctive way, fitting for itself, but not for another, even if that other is similar in style. If the styles are different, that difference is highlighted, as was heard to superb effect in the five settings of Nun komm' der Heiden Heiland.

This depends on a playing style which is both forthright and subtle. Virtuoso pieces, such as the Concerto in C BWV 594 and the Toccata and Fugue in D minor BWV 538 (the Dorian), were gobbled up: with relish; but they were always phrased, main cadence points were beautifully timed, part writing was lucid and rhythmic drive was impeccable.

The recital was a treat.