A CLASSICAL LOOK AT GRAMMY’S TASTE

So-called classical music has always been treated like a stepchild at the Grammys.

The televised presentation of oddly chosen awards to the protectors of Mozart, Beethoven, et al., has often warranted no more than a few awkward words and, at best, a token semi-high-brow ditty crammed between raucous rocks and ranting rolls. (Tuesday, the musical offering was “Ave Maria,” courtesy of Kathleen Battle and Christopher Parkening, who, incidentally, lost their joint bid for best classical album.)

Last year, the entire Grammy process courted mockery when, as the result of a bloc-voting and a loophole in the bylaws, the middling Atlanta Symphony virtually swept the field. One can question the quirks behind some of the ’87 nominations. Several distinguished entries didn’t even make the ballot. Still, the list of winners looks reasonably sophisticated.

Given the state of the commercial universe, of hype machines and living legends, Vladimir Horowitz’s Studio Recording on DGG must have been a shoo-in as best classical album, not to mention best solo-instrumental performance and best-engineered recording.

Choosing Sir Georg Solti’s Chicago recording of Liszt’s “Faust” Symphony as best orchestral entry recognized an exceptionally potent matching of performers and repertory. (Ironically, a different and less auspicious match--Solti & Co. playing Mendelssohn--was nominated for best album.) The other serious orchestral contenders--a Muti/Philadelphia rerun of some hyper-popular Respighi, and Vaughan Williams esoterica played by Haitink and the London Philharmonic--offered less substance. A brave Beethoven Ninth from Atlanta, not incidentally, got what it deserved.

Naming Lutoslawski’s Third Symphony best contemporary composition, as recorded by Esa-Pekka Salonen and the Los Angeles Philharmonic--repeat, the Los Angeles Philharmonic--represented a triumph of adventure. It also cheered at least one iconoclast who feared a victory for the mod minimalism of Philip Glass’ “Company.”

In a less-than-dazzling opera division, the selection of Bernstein’s “Candide,” as performed by the New York City Opera and produced on the valiant New World label, was cause for optimism. One also could be grateful that the academy managed to resist the hype for the Verdian sound track mutilated by Zeffirelli in his “Otello” film.

The dark-horse miracle in the chamber-music category found the Beethoven of Yo-Yo Ma and Emanuel Ax outdrawing Brahms with Perlman and Ashkenazy as well as tarnished-golden oldies with Benny Goodman.

In a comparably happy surprise, Kathleen Battle’s Mozart (under Andre Previn) enjoyed the vocal honors in favor of Pavarotti’s Neapolitan schmaltz. This iconoclast might have voted for Teresa Stratas singing Kurt Weill, but here the “classical” classification could have been troublesome.

In citing the “Carmina Burana” of the Chicago Symphony Chorus, the Grammys succumbed to the irresistibly vulgar force of orgiastic Orff. At least Margaret Hillis’ singers did make a mighty noise for James Levine.

Only one major quibble lingers: When it comes to art, as opposed to sports and politics, contests are silly.