Tian brought distinctive insights to all he played for a presentation of rare subtlety and delicate coloration. His playing is a blend of the European culture his extensive gifts obviously embrace, and the artistic refinement of the land of his birth.

His hands-across-the-sea approach worked wonderfully. The three traditional European works - Chopin's Scherzo No. 2 in B flat minor, Op. 31, Prokofiev's Sonata No. 3 in A minor, Op. 28, and Schumann's monumental Carnaval, Op. 9 - were splendidly brought to life amidst fluttering pianissimos, discrete inflections, and - when rapture called - grittier flights of bombast. It was quite a show. It was also quite an achievement; show never, ever overshadowed grace, charm and enchantment.

His Chopin was both lovely and seductive - a hard-to-come-by combination. Just for navigational purposes, the work's bigger-than-life structure requires virtuosity in the nth degree. Tian has the technical facility to traverse the Chopin's scary peaks and crevasses and then some. With Tian, the ardent anxiety of the Scherzo's lyrical second theme had a defiance fueled by the prolongation of harmonic tension over long stretches, that was not just a nod in the direction of the work's underlying turbulence, it was deep down and scrumptious Chopinesque playing.

The Prokofiev's tempo marking - allegro tempestuoso - says it all. If Tian had been from the darkly impassioned Russian School, his intense approach might have been hair-raising, but he's too reserved for that. What he managed was a dazzling ride with large swatches of tonal beauty and subtle shadings along the way.

Carnaval has always separated the just very good pianists from great pianists. Tian, in his late 30s, is a very good pianist waiting for time and experience to mature him into greatness. Tian's Carnaval had spectacular moments and his always tasteful lyicism. But Carnaval is a tough nut to crack. It calls for a vivid colorist and a master technician. Tian has the latter, it's the former that's too pastel to make for a completely riveting interpretation with the kind of heart a great performance of the Schumann must have.

One large chunk of Thursday's concert was devoted to Tian's "Shanghai Dreams" Suite. The portions of "Shanghai Dreams" he played are highly audience friendly, accessible pieces. Tian's writing has a dreamy, wistful quality that could very well find a strong market on the pops circuit. That's not a put-down. They're lovely melodic pieces, that - in the right venue - might find an audience and big sales.

A brief performance by pianist Julia Cosart just before intermission was an added concert bonus. Cosart, a junior at Reno High School, appeared as part of Community Concerts Young Artists Encouragement Series. Its dangerous for a young pianist to tread in the footsteps of a first-rate concert artist. Cosart managed her treading exceedingly well. She played Gottschalk's Caprice de Concert and she played it brilliantly.

Washoe County Community Concerts closes its current season April 7th with "Diva," a 14-piece all-girl dance band. For information call 775 686 6600.