Reyes has slowly resumed his concert career. His stop on the IU campus this weekend was part of this return. As a technician he has the chops; the keyboard remains his domain, and he comfortably controlled it. As a performing personality, he seems still a bit of a doubter, presenting himself most deferentially, sort of in a "why am I here" manner.

That should, one hope, prove of little hindrance if, indeed, he decides to continue the quest. Reyes is a fine musician who, much of the time on Sunday, made a strong case for himself and the music he chose. That music, indeed, was more than a handful. But he prevailed - particularly so whenever Franz Liszt was the object of attention. At the program's start, Reyes masterfully tore through Liszt's transcription of the Bach Prelude and Fugue in A Minor, shaping phrase and line persuasively. There was, throughout, a clarity that allowed each note in the flood of them to be distinctively present. To conclude the program, Reyes played Liszt's "Rigoletto" Paraphrase, highlighting themes from the famous Quartet in Verdi's opera.

Here, again, he had the full measure of music Liszt made so flashing and elegant for the piano. Chopin's B Minor Sonata, Opus 58, received careful scrutiny and emerged the imposing piece that it is. In the Opus 10 Ballades of Brahms, however, the scrutinity felt to this listener as bordering on the fussy.

...

In Ferruccio Busoni's Sonatina No. 6: Chamber Fantasy on Bizet's "Carmen", the pianist was back in exhibitionist territory. He took care of Busoni's intriguing inventions and rhythmic intricacies as if they were of no difficulty at all.

One wishes him...success on his renewed journey. He is a worthy artist.