Pianist Andsnes Shows Power, but Feeling Lags

Young Norwegian pianist Leif Ove Andsnes confirmed his growing reputation for formidable technique coupled with poetic insight in his five-part recital debut Friday in Founders Hall at the Orange County Performing Arts Center. For all that, his Schubert fell short of an inspired and inspiring interpretation.

The technical hurdles of Prokofiev’s Sonata No. 3 proved no obstacle to Andsnes, who was born in 1970 and who won the 1998 $300,000 Gilmore Award, which is given every four years to further a pianist’s career. His growing discography also is drawing praise.

He swept through Prokofiev’s difficulties with rhapsodic ease and similarly met the differing challenges of two of Rachmaninoff’s six “Moments Musicaux,” Opus 16 (the fourth and fifth), with an unforced, self-assured power and sense of architecture.

For openers, he illuminated Bach’s quirky Sonata No. 4 in D, BWV 963, in which the 19-year-old composer seemed to be exploring structural ways and byways with feckless insouciance.

After intermission, Andsnes played only Schubert--two late works: Impromptu in F minor, Opus 142, No. 1, and the Sonata in A, D. 959--and here, the results were more problematic.

It can’t be wholly surprising that Andsnes approached Schubert in the manner of a young man--with a muscular, vigorous and lyrical, but unsentimental, attack. He favored a strong ongoing line alternating with sectional dynamic contrast, rather than exploring nuances of light and shade, or emotional nooks and crannies.

There was more blaze than warmth, more optimism than nostalgia. This was a Schubert who apparently had not yet felt the lightest breath of death upon his neck, much less its relentless grip around his heart. It is a viable approach, but one that doesn’t tap that deeply into the music.

Still, Andsnes was greatly applauded for encores. He played Debussy’s “La plus que vente” and a toccata by George Antheil.