New York Philharmonic With Evgeny Kissin at Carnegie Hall The New York Philharmonic, with the pianist Evgeny Kissin, at Carnegie Hall on Wednesday night. The pianist Evgeny Kissin made a powerful impression when he played the Barber Sonata as the centerpiece of his Carnegie Hall recital three weeks ago. But he has not abandoned the big canvas of Romanticism, for which he has always been most admired, and on Wednesday evening he provided a gigantic sampling of it at a New York Philharmonic pension fund benefit concert. With Alan Gilbert on the podium, Mr. Kissin was the soloist in two big-boned works, Scriabin's early Piano Concerto in F sharp minor, and Grieg's Piano Concerto in A minor. The Scriabin is a bona fide rarity and not entirely without justification. Scriabin composed the work in 1896 and was the soloist in the premiere the following year. Its main business is putting his own dazzling pianism on display, and though the distinctive voice and quirky harmonic style that would ring out in his later music are beginning to coalesce here, Scriabin still has a foot in Chopin's world. That is not entirely a bad thing. It gives the piano writing a generous measure of sparkle and a current of rich lyricism, qualities tempered by the hard-edged, extroverted turns of Scriabin's own nascent style. But stretches of the score seem structurally diffuse, and the closing seems simply tacked on. Does that matter? If you are going to play this work - or listen to it, for that matter - you have to take it on its own terms, banishing thoughts of its loftier predecessors in the concerto repertory and Scriabin's own eventual accomplishments. Mr. Kissin made that easy. In the unabashedly showy writing in the outer movements, he put his weight into the dense textures, giving the music an irresistible forcefulness and, at times, grandeur, while also shining a light on Scriabin's inventive chromaticism and melodic sensibility. Grieg's A minor Concerto was an immensely popular work only a generation ago, but these days pianists are so devoted to the Beethoven, Mozart, Chopin and Rachmaninoff pieces that the Grieg has receded somewhat. It is still thought of as a war horse, but it struck me, as I listened to Mr. Kissin's commanding rendering of the big, descending chordal figure that opens the piano part, that it had been ages since I last heard the work in concert. As in the Scriabin, Mr. Kissin offered a fluid balance of unabashed virtuosity and graceful, singing nuance. Both scores also force the piano to share the spotlight in lively dialogues, a demand that both Mr. Kissin and Mr. Gilbert embraced. Mr. Gilbert and his players opened the program with a vigorous, finely polished yet oddly uninvolved reading of Tchaikovsky's "Romeo and Juliet" Overture-Fantasy. But the evening belonged to Mr. Kissin, who extended it with four hefty encores, including a sizzling account of Scriabin's Étude in C sharp minor (Op. 42, No.