For what is meant here is incredible, literally as figuratively. Literally, because it sounds like never before. The great slowness of those interpretations represents a great legibility, breathing; and this breathing seems to come from deep within the music itself. What could be more normal, in fact, the part of an organist as Bruckner? Celibidache raises every note, every instrument in their place, with a wealth of detail, leaving the music time to blossom, to let hear and understand. This breathing of the orchestra, seen as a living instrument, responds to the breath of the composer's inspiration: the result is incredible, figuratively speaking, for we reached expressive heights of intensity (sometimes presqu'insoutenable ), emotion and spirituality.
We could then play the game metronome, or compare these versions to others, sometimes remarkable, always different. Note the softness, the deep humanity attacks Celibidache, which neither strings nor brass appear sharp. May be preferred as symphony another, and enter the details of each of them.
Are pointing rather few strokes of heart; together, the fourth, sixth, seventh, eighth and ninth symphonies stand out as true genius access. The slow movements sometimes culminate in an emotion, a much greater intensity than in faster readings, slow sublimating writing Bruckner, quite rich, vast, complex to support such breathing; because, despite this extreme restraint, the pace is there, the construction remains clear, the crescendo last long, but the wind that guides the leader as the orchestra leads each to port.
These slow movements, the last three are sky high; the Adagio of the Seventh Symphony is a monument in itself, unlike the version of a Going Karajan, but incredibly interiority. Open to the infinite, the Adagio of the Ninth Symphony goes further, as a slow apotheosis. Above all, the adagio of the Eighth is an absolute masterpiece, a huge, deep, which overrides all other engravings. And the word "interpretation" is not trivial because Celibidache exceeds the score to provide a personal reading, authentic musical reflection at the service of music.
This true re-creation is found in the beautiful Mass that full cabinet, with an angelic Benedictus, particularly slow, pushing their limits to the vocal soloists capacity but offering authentic religious intensity, almost mystical in this wonderful page.
Despite his obvious humanity, this box is not listening superficially; and far from being a gateway to the world of Bruckner, it will be a kind of climax. It will reveal its secrets little by little, and it exudes emotion involved require scrupulous hearing prudent. Because these recordings are particularly rich but also poignant, heartbreaking. They do not replace, they are placed apart, moreover, far, far away to infinity, to the beyond.
