FROM THE U.S. TO THE U.S.S.R.

Ever so slowly, the U.S.-Soviet cultural exchange imbalance is beginning to right itself.

Since President Reagan and Soviet leader Mikhail Gorbachev signed the exchange agreement in November, 1985, the Kirov and Bolshoi ballets, pianist Lazar Berman plus numerous representatives from the other arts in the Soviet Union have traveled to these shores--or will do so soon.

Not too much in the other direction, however. Horowitz, of course, has visited the Soviet Union, and so has the Dave Brubeck Quartet. Billy Joel is due there this summer. “People in Russia are so hungry for foreigners from any country, but particularly from America,” noted Daniel Pollack recently.

He should know. The 52-year-old pianist spent most of February in the Soviet Union, giving recitals and master classes during what he described as “a deluxe tour” to the three largest cities as well as to the Baltic countries. Many of his hosts, he said, referred to the “historic” nature of his appearances, which included the first master class by any foreigner in the recently reopened Rachmaninoff Hall in Moscow.

The tour marked the Los Angeles-based musician’s fourth such journey. (He also judged the 1986 Tchaikovsky Competition in Moscow.)

Without mincing words, Pollack noted that his most recent Soviet visit “will help shift the (cultural exchange) balance.” Authorities eagerly sought his advice on which Western artists to invite, he explained.

“The Soviets like dealing with people one-to-one, and on the basis of my previous visits there I’m a known quantity to them. They really don’t know who most of the important musicians in the West are. Reputations are spread mostly through recordings or word of mouth.”

So, who did Pollack suggest? The pianist wouldn’t say, preferring not to jeopardize any negotiations. He did mention his idea for an exchange between the Moscow Conservatory and the Juilliard School and, possibly, USC: “We would trade deans, faculty members and students on several levels. The authorities there seemed very interested.”

Access to Western artists continues to be a problem in the Soviet Union, Pollack said. “Recordings are still pirated in there or taped over the BBC and Voice of America. You can’t buy any of our records in Soviet stores. Artists who travel there can only give them as gifts.” Better access, he added, will be a future negotiating point in East-West discussions.

Despite such limitations, audiences there know what’s going on, he said. “The underground gossip center is tremendous. There was one poster advertising my concert at the Moscow Conservatory (where Horowitz had earlier played). And suddenly, the whole city knew about it. There was standing room only--and that was true the entire tour. Before I arrived at the next city, everyone there knew what I had done previously.”

Pollack expressed excitement over renewed cultural relations between this country and the Soviet Union--and his role in restoring those ties. “I feel that by playing there I’m helping to build bridges. What diplomats can’t accomplish, we as artists can.”

AT THE PHILHARMONIC: In the penultimate program of the season, principal guest conductor Simon Rattle leads the orchestra in Mahler’s Symphony No. 6 and, with Anne-Sophie Mutter, Mendelssohn’s Violin Concerto. This agenda will be offered at the Music Center Thursday, Friday and next Sunday, as well as Saturday night in San Diego.

The Philharmonic New Music Group will be led by CalArts-based composer Stephen Mosko at its season finale, Monday at the Japan America Theatre. The program lists a chamber version of Ives’ “The Unanswered Question,” Carter’s “Triple Duo,” Feldman’s “The Viola in My Life No. 3” (featuring Dale Hikawa) and the first performance of Mosko’s “The Road to Tiphareth.” The title of the latter, a work commissioned by the orchestra, refers to the sixth of 10 planes of spiritual awareness, according to ancient Jewish mystical tradition. That sixth plane occupies the middle ground between the material and ethereal worlds. Heady stuff.

MUSIC FOR THE KIDS: The W. M. Keck Foundation is perhaps best known to Los Angeles parents as sponsor of “Sesame Street.” However, the local organization’s interest in improving the lives of young people goes beyond the TV screen. Recently, the Los Angeles Philharmonic received a grant of $350,000 for youth programs in 1987, making the total sum awarded the orchestra since 1983 more than $880,000. These grants help fund such educational programs as Symphonies for Youth, In-School Concerts, Open House at Hollywood Bowl and High School Night at the Music Center.