You can go years without hearing a duo-piano recital, and, within a month and a half, New York has had three big ones. First, Emanuel Ax and Yefim Bronfman played at Avery Fisher Hall. Then, Martha Argerich and Nelson Freire played at Carnegie Hall. Now, Evgeny Kissin and James Levine have had their turn, also at Carnegie. This third recital was billed as a fourhand affair – implying two pianists at one piano, cheek to cheek, so to speak – but Messrs. Kissin and Levine were at separate Steinway grands. In any case, they played a fine recital, the best of the three (which one might not have put money on, a month and a half ago).

Their program was all-Schubert, and when it comes to four hands, Schubert is pretty much king. He wrote gobs of this music, for which there was a huge market. Just last week, I was talking to a pianist, who said that he had been playing a lot of four-hand music. “Any Schubert?” I inquired. He gave me a look that said, “Whaddya think?”

Messrs. Kissin and Levine make an interesting pair: a young Russian super-virtuoso, and a not-so-young fulltime conductor, who plays the piano now and then. (Mr. Levine is from Cincinnati, I should have said, if we’re talking about nationality.) Did they find any time to rehearse? Mr. Levine has been busy at the Metropolitan Opera, conducting “Faust” and “La Clemenza di Tito.”

However much rehearsal time they had, it was enough.

When he puts his mind to it, Mr. Levine can play splendidly, as he proves in various chamber concerts and vocal recitals. At Juilliard, he studied with Rosina Lhevinne, one of the fabled piano teachers of the 20th century (along with her husband Josef, who predeceased her by more than 30 years). Who knows what might have been, had Mr. Levine chosen to concentrate on the piano? But then, he has made out all right as a conductor.

On Sunday night at Carnegie Hall, Messrs. Kissin and Levine began with the Fantasy in F minor, D. 940, one of Schubert’s sublime creations. Mr. Kissin did some of his blunt playing, but also some poetic playing. Mr. Levine seemed to be reading for dear life – riveted to that score. But he played ably, his musical intelligence unmistakable, as it would be all night. In the Fantasy, he achieved that gently rocking feeling that Schubert gives you.

Significantly, the two pianists were quite together, more together than either the Ax/Bronfman team or the Argerich/Freire team had been. They were, in fact, amazingly precise.

And you could complain that the Fantasy was too tentative, not free or indulgent enough, but it was lovely in its measuredness (and also slightly spooky).

The pianists next turned to another piece in a minor key, the Allegro in A minor, D. 947, nicknamed “Lebenssturme,” or “Life’s Tempests.” This is not so elevated a piece as the Fantasy in A minor, but it is far from negligible. It allows for some virtuosity, which the pianists provided. The two men had some not-together moments, but generally stayed on track. Mr. Levine’s chief contribution was some wonderful legato playing. And a fine Schubertian temperament governed the whole account.

After intermission came the big work on the program, the Sonata in C major, D. 812, called the “Grand Duo.” Many people argue for the greatness of this work, regarding it as a virtual symphony. Others of us are less enthusiastic, but it is a considerable piece, whatever the case.

In the opening movement – Allegro moderato – our team could have been bolder, and more defined, but they opted to emphasize the introspective, which was valid. There would be plenty of excitement later. In the Andante, Mr. Kissin showed some of his misplaced aggressiveness, but otherwise this movement was marked by a dreamy solidity. The Scherzo brought much pep, with laudable coordination between the men. Mr. Kissin’s vertical hammering was suited to this movement – and in the F-minor trio section, he did some very good soft playing. (When the main section returned, coordination slipped a little, but not gravely.)

The final movement – Allegro vivace – was the piece de resistance, just as Schubert intended: spry, biting, dramatic. The ending has “bombastic mess” written all over it, but it was tight, dignified, stirring – sort of like Mr. Levine’s conducting.

Carnegie Hall’s audience showered this pair with bravos and demands for encores, and Mr. Levine, in particular, looked pleased (and maybe a bit surprised as well). This may be music meant for a salon, but it made a major event in this big hall. Mr. Kissin and Mr. Levine held hands, as they had after each piece – this was rather touching.

And they obliged the audience with two encores, the first of which was Schubert’s “Marche caracteristique,” which they took like greased lightning. It was also clear as a bell. You’ve heard of thundering herds? Well, Mr. Kissin provided thundering thirds. He took the lead piano part all night long – but somehow Mr. Levine seemed in control of the recital.

To send the audience home, the duo offered the inevitable: Schubert’s “Marche militaire,” clarion and spirited.

Again, they make an interesting – an unexpected – pair, the Russian supervirtuoso and the Cincinnati Kid. More than an experiment or stunt, this recital was a musical success. So let us hear more.