‘ST. PAUL’ HOST TO LEAD BACH ‘BRANDENBURGS’

To local audiences, William McGlaughlin is a conductor better known for his speaking voice than his podium activities. As host of Minnesota Public Radio’s music-and-conversation program “St. Paul Sunday Morning” (heard on KUSC-FM 91.5 today at 10:30 a.m.), the soft-spoken musician has for six years proved himself an entertaining and informative presence over the airwaves.

This week, he will attempt to prove himself solely with the baton as he makes his first Southern California appearances, leading four complete traversals of Bach’s six “Brandenburg” Concertos with the Los Angeles Chamber Orchestra (Thursday at the Beverly Theatre, Friday at Reseda High School, Saturday at Ambassador Auditorium and next Sunday at San Diego State).

McGlaughlin still enjoys meeting concert-goers who know him only through the radio program: “One woman looked me up and down and said: ‘You’re kind of tall. I thought you’d be short.’ ” Local audiences might likewise be surprised to learn that McGlaughlin, 43, is one very busy conductor these days.

“This year is especially tricky,” he commented, shortly before dashing off to a “Sunday Morning” taping in St. Paul. “This will be my fifth and last season as music director with the Tucson Symphony and my first with the Kansas City Symphony. Plus, I’ve just been named to direct the San Francisco Chamber Orchestra. Starting next year, I’ll be spending most of my time in Kansas City. But right now, I have a home in St. Paul--not so much where I live, but where I collapse.”

For those who wonder how McGlaughlin manages to juggle his schedule so he can enter our homes every Sunday morning, the fact is he records only 26 shows per season. The remaining weeks are filled up with rebroadcasts. His career in radio began in Minnesota in 1980 when producer Tom Vogeli approached McGlaughlin, who had served from 1975-78 as associate conductor of the St. Paul Chamber Orchestra. “He said to me: ‘Now don’t say no to this. Wouldn’t it be interesting for a musician to talk with other musicians?’ I thought I’d give it a shot.”

Such a mild-mannered individual seems an unlikely prospect for the high-pressure world of conducting. Do we have a Jekyll and Hyde here: gentlemanly off the podium, but a tyrant in front of an orchestra? That’s not McGlaughlin’s style.

“Look at all those great conductors of the past who were authoritarians--Szell and Reiner and the others,” he said. “Then look at who played for them. Most of those musicians were Europeans who never went beyond high school, who’d only had teachers that drilled information into them. These musicians needed to be yelled at.

“Nowadays, we have players who hold Ph.D.’s and master’s degrees. You don’t have to discipline them--but you still need to motivate and energize them. Rehearsals can be businesslike with good musicians, such as those in the L.A. Chamber. At the same time, you can’t lose sight that it’s not business you’re creating. It’s art.”

On the subject of Baroque interpretation, McGlaughlin holds no particular bonding to the current authenticity movement, commenting that he prefers “not to be restricted with a specific period. Besides, think of the idea of making a record with authentic instruments but then tight-miking the harpsichord with digital reverb. That’s authentic? Really, the only important thing is getting the message (of the music) out.”

The conductor says his approach to Bach harkens back to his experiences years ago in Kansas City nightclubs. “One thing about jazz in that city--you could always dance to it. And if you get the ‘Brandenburgs’ right, you should be able to dance to them as well. Even the slow movements.”

AT THE PHILHARMONIC: Andre Previn will lead a mostly Mozart program at the Music Center Pavilion beginning Thursday night. The Mozart on this occasion will be, for the most part, early Mozart: the Symphony No. 1, K. 16, the motet “Exultate Jubilate” (K. 165) and the concert aria, “Vorrei, Spiegarvi, o Dio” (K. 418). Soloist in the latter two will be soprano Kathleen Battle. In a rapid switching of gears, the program will conclude with Vaughan Williams’ “London” Symphony.

Speaking of gear-switching, the Philharmonic New Music Group will be sponsoring a concert seemingly light-years removed from the orchestra’s agenda. On Monday at the Pavilion, Steve Reich and Musicians will be joined by clarinetist Richard Stoltzman in a concert devoted to music by Reich. The agenda: “Clapping,” “Piano Phase,” “Pieces of Wood,” “New York Counterpoint” (with Stoltzman) and two recent works--”Six Marimbas” and Sextet.

Reich will also preside at a lecture/listening session this afternoon under sponsorship of UCLA Extension, at 2 p.m. in Dickson Hall, Room 2160E. Admission is $2. Information: (213) 825-9064.

At another Philharmonic-sponsored event, pianist Emanuel Ax will share keyboard duties with Previn at a Chamber Music Society program Tuesday at Gindi Auditorium. The two will be joined by Philharmonic players in music of Schubert, Mozart and Brahms.