Music Reviews : Previn Conducts L.A. Philharmonic at Pavilion

Aaron Copland’s “Statements” finally arrived in Los Angeles, courtesy of Andre Previn and the Los Angeles Philharmonic Friday at the Dorothy Chandler Pavilion. The shock, however, was in the familiarity of the 1935 opus.

This, after all, is pre-Americana Copland, from a period in which the composer produced some notably craggy works. But the six short movements of “Statements” are as characteristic--in sonority, texture and even melodic inflection--as are the later ballets.

To prove the point, Previn followed it with the “Appalachian Spring” Suite, which itself is not all triadic sweetness, and “Simple Gifts.” Both works share sure and sensitive scoring, clarity and a penchant for clean two-part counterpoint, as well as a reflective, witty yet endlessly purposeful spirit.

Certainly, some of the “Statements” are more angular, dense and dissonant than most of “Appalachian Spring.” The round, rich, affectionate playing of the Philharmonic, however, gave to both a smooth, glossy finish in Previn’s indulgent readings.

Closing the oddly constructed program were Brahms’ Variations on a Theme by Haydn. There the flow of the performance was broader, but no less direct or stylish.

Both Brahms and Copland provided plenty of opportunity for Philharmonic principals to display power, elegance and brio in varied solo assignments. The evening’s main solo vehicle, Mozart’s Flute Concerto in D, K. 314, was also entrusted to an orchestral player.

Anne Diener Giles brought warmth, simplicity and a light, limpid tone to the task. Her playing proved alert and affective in an undemonstrative sort of way. Stylistic proprieties were observed more in the spirit than in the letter of the law, particularly in the brief cadenzas written by her husband, Allen Giles.

Previn presided over a much reduced orchestra, eliciting a brisk, supple accompaniment despite occasional thickening.