DEFENDER OF MISUNDERSTOOD VIOLA

Don’t get him wrong: Paul Neubauer just loves to play the viola. But when asked his preference for the ideal display piece, he deadpans, “Brahms’ Violin Concerto.”

The Los Angeles-born musician is well aware of the instrument’s repertorial limitations. And that includes the most famous of all orchestral works for viola, Berlioz’s “Harold in Italy,” the vehicle for his Hollywood Bowl debut on Sunday with the Los Angeles Philharmonic Institute Orchestra.

“It’s an incredible work on its own,” Neubauer says of the Berlioz during a telephone conversation from his parents’ Sherman Oaks home, following a mid-week Bowl rehearsal. “Still, there isn’t really that much for the viola to do.”

The ever-wisecracking musician can’t resist a bit of sarcasm. “Actually, that gives me a lot of time to enjoy it. At the end there’s a full eight-minute orchestral section, where all I can do is listen and admire how wonderful it is.”

A sense of loyalty compels Neubauer to quickly come to the viola’s defense: “Most people don’t know what a beautiful instrument it is. The sound is so lush, so expressive. I like what (the late violist) William Primrose said. He called it ‘a violin with an education.’ ”

At 22, the Juilliard graduate has already established himself as a potential successor to Primrose as the violist. A partial list of accomplishments: winner, at 17, of the Lionel Tertis International Viola Competition; winner, at 19, of the D’Angelo International Young Artist Competition; winner, at 20, of the May M. Whitaker International Competition in Strings; appointment, at 21, as principal violist with Zubin Mehta’s New York Philharmonic.

“Everything is happening so fast,” he acknowledges, “but I feel I can go further.”

The violist credits his success to his mentors, Primrose, Paul Doktor (who is also Neubauer’s godfather) and former Los Angeles Philharmonic principal Alan de Veritch. “When Zubin invited me to a private audition last April, I flew out here to study with Alan, because he had played under Mehta. I came to the audition with a lot of confidence.”

Of his first completed season with Mehta and the New York Philharmonic, Neubauer expresses only delight. “I can’t believe how much I enjoy it, more than I thought I would. Earlier this week we came back from a tour of Europe that was very exciting. Audiences there went wild. We played a pops concert before 300,000 in Tel Aviv.

“I particularly enjoy the Philharmonic’s liberal policy about my solo appearances. This past season, I had 30.” For a violist seeking steady work, is an orchestral position the only hope?

“We do have a lot going against us,” he acknowledges. “A lot of orchestras won’t even hire a soloist--they’ll just use one of their own. And, once again, there is the problem of repertory. The viola just isn’t suited for pyrotechnics, even though there are some great works written for it, such as the Walton and Bartok concertos. There’s really much more good solo music written for viola then for flute, but look at how popular the flute is these days. There just isn’t a Rampal or a Galway (on the viola) who can capture the public’s attention.”

Looking ahead to his second season in New York, Neubauer is particularly excited about his solo appearances with the orchestra in the spring. His vehicle? “Harold in Italy,” of course.

“The version I play is a bit different. I dug up Berlioz’s first draft in the Lincoln Center archives. There are passages where the viola has more, and occasionally brilliant, things to do.”

For a violist standing center stage, any additional “things to do” are gratefully accepted.