For contemporary classical artists, metadata is not just an abstract consideration.

These three concerts in this collaborative group’s In Visible Roads festival all look at the piano in one way or another. On Friday there’s a glimpse at composers who are either synesthetic or take an avowedly coloristic approach to composing.

Timo Andres’ piece, which features the cellist Inbal Segev performing with the Metropolis Ensemble, is based on John Vanderlyn’s “Panoramic View of the Palace and Gardens of Versailles” (1818-19), a massive painting on nearly 2,000 square feet of canvas that requires its own circular gallery in the Met’s American Wing. 

Mohammed Fairouz, a prolific and inventive young composer, has written a new oratorio seeking to capture some of Jerusalem’s complex dynamics and sounds.

Mr. Kaplan played “New Dances of the League of David,” a 60-minute suite that incorporates new miniatures by this 21st-century band of composers into Schumann’s “Davidsbündlertänze,” a project commissioned by Lyrica Chamber Music and Metropolis Ensemble.

The composer and pianist Timo Andres’s take on the “Coronation” (otherwise known as the Piano Concerto No. 26 in D) felt necessary — not a lark but a surprisingly moving dazzler.

The musicians weren’t the same Roots band seen regularly on NBC’s “Tonight” show with Jimmy Fallon. They included the Metropolis Ensemble — the conductor Andrew Cyr, a string quartet and four singers — and the jazz pianist D. D. Jackson, who wrote dramatic, somberly dissonant arrangements for the ensemble.

Metropolis Ensemble, a talented freelance orchestra, responded with skill and exuberance to Mr. Tan’s thrusting arms and clutching fingers.

Metropolis Ensemble transformed the house into a concert hall. A string quartet and a harpist were stationed in the parlor, percussion and vibraphone could be heard on the second floor, and a violin and a woodwind trio occupied the third floor.

Avner Dorman’s music works its magic by melding far-flung influences and making them sound natural together.

What impressed most was the diversity of approaches that the composers involved took to stretching a more or less conventional chamber ensemble’s sound through electronic legerdemain.

Avner Dorman writes with an omnivorous eclecticism that makes his music on Concertos both accessible and impossible to pigeonhole.

“All told, twenty-six works of various lengths were performed, most contemporary and eclectic.”

Metropolis was really an umbrella group that brought together instrumental soloists, chamber ensembles, singers and a few composers for a benefit performance for Partners in Health.