THE BOWL HOSTS A VISITOR: PREVIN

The way Andre Previn talks, he seems like just another conductor coming to town this week for a few concerts with the Los Angeles Philharmonic.

“I look forward to it,” he says of his five-night engagement at Hollywood Bowl. “I can’t say anything right now about what it’s like working there, but I understand it’s terrific.”

Once this week is over, he adds, “I’ll be able to talk about it. These concerts will give me a fairly good cross section of the possibilities, to allow me to see what I want to do in the future.”

Don’t get the impression that these appearances mark Previn’s Bowl debut. He made no fewer than 14 appearances at Cahuenga Pass in the ‘60s and early ‘70s, the last coming in 1974 with the London Symphony. Memories of those appearances have evidently faded during the intervening years. “It’s been decades since I’ve been there,” he says in all seriousness.

Despite his title of Philharmonic music director, Previn notes that even today the Bowl shows up only fleetingly in his thoughts.

Speaking by telephone from Connecticut, the conductor explains that the facility is “not my bailiwick. I really have nothing to do with the season there. Robert Harth and Ernest Fleischmann (managing and general directors, respectively) do all the planning.

“Of course, I want to be aware, I want to be part of anything the orchestra is involved in,” he interjects. “The Bowl has enormous importance to the orchestra. To pretend it doesn’t would be ostrich-like. It keeps the players busy and, of course, it means an awful lot of money to the organization.”

Which isn’t to say Previn sees the amphitheater as a great place to make serious music. “I’m not fond of amplification,” he says. “I always shy away from it. And a summer season just has too many services (formal orchestral gatherings). To play that many times with so few rehearsals is very difficult.

“A schedule like that takes a toll on the nervous system. Actually, it’s the same problem with all summer seasons. You just can’t expect musicians to exist in the summer and play as well (as in the winter). You can’t give a fair estimation of the orchestra, but you have to realize everyone plays as well as possible.”

Such time limitations restrict the repertory, Previn notes. For example, he points to some of the works scheduled to be played under his baton this week: “The Shostakovich First Symphony (Tuesday night) we played together last season, so we’re pretty familiar with it.” The same can also be said of Elgar’s “Enigma” Variations, set for Thursday.

“The Beethoven Ninth (played at the weekend concerts) was covered at the end of last season when (Kurt) Sanderling was here. If a major piece is played at the Bowl, it has to have been performed recently.”

Those weekend events are traditionally given over to pops programs, but Previn seems unconcerned that the audience may be more in the mood for Broadway show tunes and fireworks. “The Ninth is played all the time at outdoor summer concerts. The people love it, especially that rousing finale.” A suggestion that he might consider leading a pops program in the future draws a swift no-thank-you from Previn. “That’s all 25 years behind me,” says the former jazz pianist/film composer. “Besides, there are so many fine conductors who specialize in pops these days.”

Previn’s week at the Bowl actually begins tonight, when he leads the Philharmonic Institute Orchestra in Shostakovich’s Symphony No. 5. “I know very little about the (Institute) program,” Previn says apologetically. “But I am looking forward to working with the young people there.”

He also indicated his anticipation of working with his mid-week soloist--Itzhak Perlman. How was repertory worked out with the celebrated violinist? Simple, Previn responds: “With Perlman, you don’t tell him what to play--he tells you.” Perlman told the Philharmonic he wants to play the Beethoven Concerto on Tuesday and the Mendelssohn on Thursday. So they are. (The celebrated violinist will also appear in a Wednesday night recital at Cahuenga Pass.)

Previn says he hasn’t been following happenings at the Bowl. He gives a small groan at the mention of Times Music Critic Martin Bernheimer’s description of the Bowl season as a “festival of mediocrity.”

While making no apologies for the lineup of guest conductors and soloists, he came to the defense of Bowl administrators. “It would be wonderful if we could have Karajan and Haitink (to conduct). But you try getting three world-class people a week. A lot of the European conductors like to rest and be with their families during the summer. We’ve begged, we’ve bribed, but there just aren’t that many great people. It’s also true during the winter season.

“Another thing to remember is that (contractually) most music directors in America can’t conduct other American orchestras. That’s true of Solti, Dohnanyi, Muti and me--and I think it is correct.

“Next season I’ll also do four nights. I find myself looking to the future more and more as I get older. I need some time to think.”