On Previn’s Editing of Erickson’s ‘Corona’

Several terrible thoughts come to mind regarding the “premiere” of Robert Erickson’s “Corona,” commissioned by the L.A. Philharmonic and radically edited by conductor Andre Previn (“Previn Wields Baton--and Scissors--for Erickson Premiere” by Martin Bernheimer, Feb. 4).

Is this the start of a practice wherein conductors will assume absolute authority over compositions and alter them to suit their and the presumed audience’s taste? Will a composition performed in Houston be completely different when performed in New York? Perhaps composers should include a choice of sections from which the conductor can assemble a composition to suit his own taste.

Will composers cast a wary eye on commissions from Los Angeles? The prestige from such a commission will surely be offset by the potential embarrassment of having one’s composition judged so inadequate as to require “improvement.”

In the current status hierarchy, does Erickson rank low enough to let Previn mutilate his efforts? Would Previn dare to alter a composition by Boulez no matter how banal or long it might be?

I propose that the orchestra perform “Corona” again, in its entirety, as written. Give the audience a chance to hear for itself if it would, as Previn put it, “go crazy.”

GENEVIEVE MARCUS

Beverly Hills