CONCERT: KUBELIK'S DVORAK By BERNARD HOLLAND Published: March 14, 1982

Symphonic life has its own set of marital problems: guest conductors, for example, brandishing their large egos, and orchestras - better organized and more militant than ever - responding with suspicion. So it is a pleasure to report on happy marriages as well; and certainly one of these was Rafael Kubelik's appearance with the New York Philharmonic Thursday evening in Avery Fisher Hall. Physically, Mr. Kubelik moves with the agility and grace of a large bear, and his beat ranges from the unclear to the downright confusing. Yet Thursday's performance of Dvorak's D minor Symphony, the Seventh, was a model of warmth and unanimity. The strings in the first movement played with delicious tone and phrased as one person. Philip Myers's horn in the Poco adagio and Stanley Drucker's clarinet in the finale added to the delight; and Mr. Kubelik's tempos allowed Dvorak's music to sound urgent but never hurried. The key, of course, was Mr. Kubelik's personality, but the process by which this personal warmth is transferred into the hands of his players is one of those mysteries that remain, well - mysterious. Vivaldi's A minor Concerto for Bassoon and Orchestra was a nice opportunity to isolate and highlight the considerable talents of Judith LeClair, the Philharmonic's young principal player. It was, however, not a very interesting or rewarding piece for either its soloist or her audience. Elsewhere in the evening was the Hindemith ''Symphonic Metamorphoses,'' with its boisterous, good-natured and often heavy-handed humor. The Philharmonic's brass and wind players made good use of the opportunities it offered them. Bernard Holland