Reprinted from yesterday's late editions.

The annual Kindler Foundation Concert is always an occasion. It pairs a major artist with music commissioned for the event, provides a small but unusually knowledgeable audience and packages the whole thing in the elegant, tapestry-festooned intimacy of the Textile Museum's gallery.

Pianist David Burge presided over the 24th of these annual affairs Monday night and played a program that was an exhilarating as it was frustrating: exhilarating because he played each piece so lucidly that even the most difficult seemed possible to grasp, frustrating because so much that was so thought-provoking happened in such a short time that there was not nearly time enough to think about what had been played and to savor it.

"Frames" by Charles Eakin was the commissioned work, a 20-minute set of variations that Burge played with the assured familiarity that belied the fact that it was a world premiere. Eakin seems completely comfortable within an idiom that involves free serial techniques and special effects - a glass rod on the strings that produces unearthly harmonic wails, and some plucking and pounding. The effects seemed organic in this involving and well-focused piece, and the serial techniaues were refreshing without dogmatic rigidity.

Surrounding this piece was an awesome selection that included the Mozart E Flat Major Sonata K. 282, Schumann's "Humoreske" opus 20, the Stravinski Sonata in three movements of 1924, Berio's endlessly fascinating, "Sequenza IV" and the Debussy Estampes," surely more riches than can possibly be absorbed in the two hours it takes to play them.