The rather mystifying MM 1785 and Mozart Momentum titles of this double album by pianist Leif Ove Andsnes don't really mean much, other than that the album involves music exclusively from the year 1785. (An "MM 1786" release is on the way.) That was a year when Mozart simultaneously learned the knack of appealing to Viennese audiences and also began to alienate them by delving into more arcane realms. Andsnes offers three piano concertos, plus the Piano Quartet in G minor, K. 478, the Fantasia in C minor, K. 475 (played by itself, not attached to the usual Piano Sonata in C minor, K. 457), and the Masonic Funeral Music for orchestra, K. 477. Andsnes plays and conducts the Mahler Chamber Orchestra, which was socially distanced during the coronavirus pandemic. That may have been the reason for a certain lack of focus in the three piano concertos, although there are plenty of elegant turns from Andsnes. Recorded in Berlin's Philharmonie Concert Hall, the orchestra sounds larger than it actually is, and the recording conveys the impression of the old-school large-group Mozart. Listeners' reactions are likely to vary, and those tuned in to Andsnes' particular mystique will probably be enthusiastic. There's no question at all on the smaller pieces, which are superb. Andsnes' reading of the Fantasia in C minor fully realizes his goals, catching the work's thoroughly Beethovenian quality and the plunge into unknown realms it represented for Mozart. In the Piano Quartet in G minor, Andsnes and a group of strings achieve great intensity in this moody, variable work, and the Masonic Funeral Music, which Andsnes did not conduct, is a daring work, not often performed, that also enters Beethovenian territory. A fascinating album that achieves its aims, even if listeners' mileage may vary in parts.