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Norwegian pianist Leif Ove Andsnes is a newcomer to Mozart. About five years ago, he finally felt he was mature enough to tackle the composer's piano concertos.  Now playing these works is one of his greatest joys. 

He's just released his second recording of Mozart piano concertos with the Norwegian Chamber Orchestra. Together, their sense of sincerity and spontaneity brings a new sense of enthusiasm to Mozart's piano concertos No. 17 and No. 20. 

Leif Ove Andsnes first played the piano concerto No. 17 in G major just a couple years ago. It's already one of his personal favorites.  

This is an experimental piece. It starts off very innocently with a light, memorable melody. Then various harmonic twists and turns ruffle the carefree atmosphere of the first movement. 

Andsnes emphasizes the harmonic dissonance with subtle articulation in his left hand.  He also knows when to step aside so the outstanding wind soloists of the Norwegian Chamber Orchestra can accentuate the intricate wind passages. 

The wind section illuminates the path for the solo piano in the slow Andante movement as well. Here, Andsnes takes liberty with the tempo, and he makes use of esthetic pauses as his Steinway sings its way through what is essentially an operatic aria. 

A set of variations fashioned out of a playful, chirpy melody makes up the final movement. Mozart taught this melody to his pet starling who could whistle it almost note for note. The finale wraps up with a humorous coda reminiscent of cartoon music.   

Mozart wrote only two piano concertos in a minor key. The piano concerto No. 20 in d minor is the stormier of the two. As a young man, Beethoven loved this work, and he studied and played it often.  

He even composed a pair of compelling cadenzas for the first movement, one of which Leif Ove Andsnes performs on this recording. Andnes punctuates the menacing mood by rolling through the sinister bass line.

Mozart gives no tempo indication for the second movement. By calling it a Romance, the composer creates a certain serene atmosphere. 

The piano opens the movement with a delicate song. To master the beautiful phrasing, it's obvious that Leif Ove Andsnes and the Norwegian Chamber Orchestra listen intently to one another.  

A fiery central section disrupts the elegiac opening mood. Andsnes sails through these virtuosic riffs before gently returning to the tender opening melody.

For these performances, Leif Ove Andsnes conducts from the keyboard, which was standard protocol in the 18th century.  

With his back to the audience, and the piano lid removed, he jumps up from his piano bench periodically to conduct the more than two dozen members of the Norwegian Chamber Orchestra who form a semi-circle around him.  

Conducting from the piano is as far as Andsnes says he'll go. He has no interest in being a second-rate conductor when there is still so much left to do on the piano. After all, he only recently discovered the joy of Mozart. 

With the release of their second Mozart piano concerto CD, Leif Ove Andsnes and the Norwegian Chamber Orchestra are well on their way to producing a must-have collection of these beloved  concertos.

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Julie Amacher

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On his new disc, pianist Leif Ove Andnes plays -- and conducts -- Mozart with the Norwegian Chamber Orchestra. It's a combination that brings out spontaneous, subtle playing from soloist and orchestra alike.

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