Mr. Gosling’s feeling and facility for Mr. Zorn’s music was consistently impressive. In the first study, his hand-over-hand playing across all the piano’s registers brought a lulling quality to the music’s gentle dynamics. But he also found just the right punch for the percussive interjections that Mr. Zorn inserts into this not-quite-minimalist procession, keeping a quality of steely edge.

Several of the nervier studies featured rambunctious, whipsaw conclusions to melodic statements — often ending in one of the elaborate chords Mr. Zorn favors. And the 10th study had a madman-machinist design worthy of the player-piano canons of Conlon Nancarrow.

But there were also other moods. The relatively calm sensibility of The Gnostic Trio — one of Mr. Zorn’s many, many other projects — made an appearance in the fourth and 14th studies. (That is, assuming I counted correctly: In keeping with the laid-back air of the Miller’s pop-up concerts, no programs, or titles for individual studies, were provided.)

Mr. Gosling is far from new to Zorn, having appeared on the composer’s records for over a decade. But the speed with which Mr. Zorn has been writing works with this pianist in mind is worthy of notice. (This includes a recent piece for Mr. Gosling and the soprano Barbara Hannigan, heard at this summer’s Ojai Music Festival and coming to the Park Avenue Armory in October.)