ISO Accents Three Facets of Pianism

On the surface, an orchestral program totally consisting of piano concertos may sound as if it would lack variety, and yet this weekend's all-concerto program at the Indianapolis Symphony Orchestra showcases three contrasting aspects of pianism.

In the ongoing Classical Series program, two 19th-century romantic warhorses, Franz Liszt's Concerto No. 1 in E-flat and Peter Ilyich Tchaikovsky's Concerto No. 1 in B-flat, flank George Gershwin's bluesy Concerto in F, from 1925.

With each, concertgoers have access to three strikingly different interpretations. While one stands out for tasteful technical choices, another celebrates an American art form, and a third is notable for the sheer power of a piano's sound.

At Friday's opening concert at Hilbert Circle Theatre, Stephen Beus, one of the two winners of the 2006 Classical Fellowship Awards presented by the Indianapolis-based American Pianists Association, gave a tightly controlled, technically clean rendition of the Liszt. Beus can muster a big sound, and did in the opening movement's lusty octave passages. But he did not neglect subtler moments. Light, nuanced textures in the triangle-studded scherzo seemed especially memorable.

Spencer Myer, the APA's other 2006 fellow, gave a gloriously expressive take on the Gershwin. Myer opened the concerto with two deliberate notes and a glissando that led to a relaxed ambiance that lasted throughout the concerto. The second movement offered playful syncopated rhythms, and a laidback, unaffected treatment of Gershwin's take on the blues.

After intermission, Jon Kimura Parker, a Canadian concert artist teaching in Texas, gave an arresting performance of the Tchaikovsky, with an emphasis on a powerhouse sound. Parker struck up an appealingly conversational style of phrasing in the opening movement. He seemed to throw everything he had into his highly physical conclusions to both outer movements, but lightened up considerably in the "Adagio," which offered a free, irrepressible quality.

The ISO, led by guest conductor Thomas Wilkins, matched Beus' clean approach to the Liszt with its accompaniment, the orchestra's chief role in that concerto. The orchestra played a larger part in adding bluesy coloring in the Gershwin. The second movement offered especially fine playing, by musicians including first trumpeter Marvin Perry and the clarinet section.

Three pianists. Three distinctive approaches. One engaging evening.