MUSIC REVIEW : Prokofiev by Salonen Lacks Polish, Focus

Unkempt playing by the Los Angeles Philharmonic happens so seldom, when it does, it is cause for comment. Such comment is now appropriate.

At the first of three performances of his latest subscription program (Friday night and Sunday at the Dorothy Chandler Pavilion, Saturday night at Costa Mesa), music director Esa-Pekka Salonen led his orchestra, gingerly in the first half, more boldly in the second, through Ives’ “Thanksgiving Day,” the Violin Concerto by Mendelssohn and a suite from Prokofiev’s ballet, “Romeo and Juliet.”

Much of the playing met the Philharmonic’s usual standard for neatness and cohesion. Those portions that did not--several parts of the ballet score--merely lacked focus, tightness and dramatic point, but noticeably so in music so familiar and memorable.

In the universe of tempos--where the only criterion for “rightness” is workability and a conviction that communicates--no speeds, however quick or slow, are sacrosanct. Still, in many ballet scores, where function (the dancers’ movements) follows form (the shape of musical phrases), some tempos must remain within narrow confines, if only because dramatic timing is so specific an issue.

Salonen braved these balletic waters confidently, but without asserting a compelling individuality or inspiring his players to a unanimous virtuosity that would have made all these excerpts speak their truths.

The full range of orchestral weight and lightness, as well as dynamics--upon which the composer calls, throughout this score--never materialized at the Friday performance, which often sounded like a recalling of the music, rather than like the music itself.

Consequently, it was impossible to be moved by this extraordinarily emotional, and emotionally detailed, score. The players, including a number of soloists, contributed gamely, but without team success. Perhaps later performances jelled better.

Violinist Gil Shaham brought exuberance and a pretty, slender tone to the solo duties in the Mendelssohn Concerto, making it seem fresh and non-corrupt--certainly a feat in 1993. We will no doubt be hearing more of the 22-year-old Israeli resident.

The program opened with an engrossing revival of Ives’ portentous “Thanksgiving and Forefathers’ Day.”