The composer, Alan Theisen, did such a great job of describing what we were about to hear in the six movements of the world premiere of AMP, his piece for piano and wind ensemble, that we weren’t overly (just a little bit) distracted by what appeared to be LED running lights on his shoes.

But the shoes weren’t the main glittering attraction. Nor were the interspersed red and blue strings on the harp, which signify, respectively, C and F notes (had to look that one up). Rather it was the guest artist, piano soloist, Marianne Parker.

I’ve written glowingly about Parker’s concerts before, but this was different, another level. This commissioned piece featured not only great artistry on her instrument, her hands flying across the keys in a relentless, graceful, rhythmic manner, like a championship prizefighter pounding a speed bag into submission, but also talents not normally associated with the piano.

In one movement, per the arrangement articulated by Theisen up front, Parker led the audience in providing a finger-snapping pulse for the band, playing the piano with one hand while snapping with the other, and then switching, back and forth, forth and back, while also waving encouragement to the participating attendees, showwomanship at its height.

Leading into another movement, which was reminiscent, energy-wise, of the USC marching band performing Tusk, Parker leaned back like a drum major, and let rip a loud, pure tone on the whistle she had surreptitiously placed in her mouth during a moment when she had a hand briefly available to do so. I could only envision the Trojans running onto the field, but I could actually see the UIC band members bouncing in their seats, and, in response to Parker’s solos, wiggling their fingers and shuffling their feet as a way of saying “great job”.