April is turning out to be a terrific month for piano music. At DePaul, a concert series that runs into May is celebrating keyboard works by American composers–Wednesday’s program features solos and duos from the likes of Ives, Gershwin, Copland, Charles Griffes, and Edward MacDowell played by locals such as Eteri Andjaparidze, Dmitry Rachmanov, and George Oakley. It’s a big month for pianists at Symphony Center as well: powerhouses Alfred Brendel and Evgeny Kissin appeared last week, Yefim Bronfman performs on the 20th, and Maurizio Pollini takes the stage the following weekend. The Milanese-born Pollini, 61, is one of a handful of great interpreters to have emerged from postwar Europe, and he’s been active for over four decades, compiling a repertoire that stretches from late baroque to Luciano Berio. Few of his contemporaries measure up to him in command of technique, intellectual acuity, and ready grasp of complex emotion; he’s brought clarity to knotty modern compositions and breathed new life into the canon. If he has a flaw, it’s the occasional patrician detachment of his interpretations–he can seem as though he’s handing down a pronouncement from Mount Olympus. I’ve heard Pollini play many times, and I’ve heard Beethoven’s Fourth Concerto, which he’ll perform with the Chicago Symphony Orchestra next week, even more often. But I wouldn’t miss the opportunity to discover his latest take on the piece. The other work on this thoroughly old-fashioned program is Bruckner’s Fourth Symphony, always a wonder when the CSO tackles it full throttle. Thursday, April 24, and next Friday and Saturday, April 25 and 26, 8 PM, Symphony Center, 220 S. Michigan; 312-294-3000 or 800-223-7114.