The sight alone of three Steinway grand pianos on the empty stage of Warner Concert Hall is impressive. It conjures up the exciting possibilities that could arise if all three were played in varying degrees of unison over the course of one joint recital.

Piano faculty members Haewon Song and Robert Shannon performed a surprisingly varied program of works for two pianos, piano four hands, and solo piano on Tuesday night. It was difficult to pick out a true high point of the performance; each work on the program was exquisitely performed in its own unique style.

The program began with a touching rendition of Franz Schubert’s Grand Rondeau for piano, four hands. Works for four hands are intimate by nature the two performers sit immediately next to each other on the piano bench and must often reach in front of one another while playing. Song and Shannon, being married, shared the performance with ease both spatially and musically. While there were no sappy displays of emotion, the perfect unison of their expression in this delicate work spoke to their solidarity both on and off stage.

The Grand Rondeau itself is a quintessential example of parlor music. It was clearly intended as a piece for informal private performance, and could easily have seemed out of place in the large, rather cold Warner Concert Hall. Song and Shannon, however, brought a sensitivity to the stage that made the performance feel personal despite the large space.

Following the Chopin, the program undertook a drastic change in style, with George Crumb’s Eine kleine Mitternachtmusik (Ruminations on “Round Midnight” by Thelonious Monk), performed by Shannon alone. It might seem strange to program a solo piano work on a recital featuring mainly duets, but the use of effects inside the piano alongside traditional piano playing gave Eine kleine Mitternachtmusik a duet-like quality that let it blend with the rest of the program. Shannon’s performance and Crumb’s work were both completely captivating; the obvious influence of Monk’s playing style suited both composer and performer uncannily well.

The final piece of the first half, Darius Milhaud’s Scaramouche for two pianos, was equally satisfying despite being less weighty than the previous two works. Song used this piece to showcase one of her younger students, a local thirteen-year-old named Kei Niedra. Both Song and Niedra performed with remarkable energy. They captured perfectly the tricky blend of grandeur and whimsy characteristic of Milhaud. The first movement, “Vif,” was catchy and rhythmically striking, the “modere” sweet and deeply felt, and the closing “Brazileira” a charmingly French rendition of a popular Brazilian folk song.

The second half of the recital was devoted to Sergei Rachmaninoff’s Second Piano Suite for two pianos. This truly majestic work made full use of the sheer power of two grand pianos playing in concert and demanded amazing virtuosity from both performers. Shannon and Song both shone in tackling the formidable technical and musical challenges of the piece, and delivered what could only be called a stunning performance. Their effortless ensemble carried them through lilting Russian-inspired melodies and passionate climaxes alike, bringing to life this nearly symphonic-scale piece of Rachmaninoff at his romantic best a fitting end to a program devoted to teamwork through lasting affection.