The peripatetic pianist Paul Lewis, who names the legendary Alfred Brendel as his mentor and sits on international competition juries with living legends like Marta Argerich and Stephen Kovacevich, visits New York all too seldom. How to account for his Mozart+ doubleheader at the Frick Collection, dropped into his calendar between gigs in Milan, Italy, and the picturesque Essex market town of Saffron Walden? Kudos to Jeremy Ney, the Frick’s head of music and performance, for what promises to be a highlight of the concert season. Lewis’s sixth sense for crosscurrents is uncanny, whether he is juxtaposing works by a single composer or works by composers whose sensibilities seem worlds apart. In one Mozart+ program, the Salzburg wonder’s B-flat major sonatas Nos. 17 and 13 (in that order) bookend Schubert and Chopin. In the other, Debussy and Poulenc are bracketed by Mozart sonatas in C (No. 10 in the major, No. 14 in the minor). The intimate, steeply tiered horseshoe of the Frick’s Stephen A. Schwarzman Auditorium seats only some 200, but its acoustics are tricky. Unbridled, even a small chamber ensemble can jangle the ears. But Lewis’s exquisite touch and lucid sense of architecture should make the room glow. —Matthew Gurewitsch