Most Helpful Customer Reviews
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7 of 7 people found the following review helpful:
4.0 out of 5 stars
Testament To A Mighty Brucknerian, 19 Oct 2005
I would like to say something about this box set, especially given the fact that the reviewer for Celi's other Bruckner box (DG)rubbishes it.Celi's Munich recordings are praised or blamed for tempos often slower than those of rival conductors and orchestras; as is always the case with such generalisations, the situation is not so simple. For a start, Nos 3, 5 and 6 only grow by a very little over the running times of other Brucknerians (Karajan, Jochum and the like); and the famous Eighth with its 105 minutes has a second movement that clocks-in, like everyone else, at around sixteen minutes. Anyone Bruckner addict will be aware that taking one's time pays rich dividends with this composer and with that in mind, is it any wonder Celi worshipped him? It should also be stated that these EMI recordings are quite excellent; spacious, full-bodied and immediate. Applause is retained in order to invite the listener to join an audience present in the hall, as if he/she was also there, ready to concentrate and be enthralled. If, however, you don't want this, these applause tracks can easily be skipped. Celi was not a recording artist and it is wise to treat him as a special case. He has much to give but we must be prepared to give too: trust, tolerance and time. Trust me, the rewards are there. My experience of this collection was that No6 was magnificent, and all the others except No5 were remarkably engaging performances, fit to stand alongside celebrated recordings by the likes of Karajan, Wand and Haitink. Bruckner novices should look to those first: adepts should seriously consider this set.
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4 of 4 people found the following review helpful:
4.0 out of 5 stars
For the Connoisseur, 7 Nov 2007
If you are new to the music of Bruckner, then this is not the set for you. Celibidache's interpretations are so different from the standards of the mainstream that they are really only for those already initiated into the Bruckner canon. I advise that you do not choose this set as your first purchase of a set of Bruckner symphonies, but rather buy it as a valuable alternative addition to your collection.
There are clear differences in instrumental emphasis from other collections, but the primary distinction of Celibidache's interpretation relates to timescale. In short, he plays long! Compare his timings with, say, Karajan's set: -
Symphony 3: Karajan 57 minutes, Celibidache 65 (15% longer)
Symphony 4: K = 64, C = 79 (23%)
Symphony 5: K = 81, C = 89 (10%)
Symphony 6: K = 58, C = 63 (9%)
Symphony 7: K = 65, C = 80 (23%)
Symphony 8: K = 83, C = 107 (29%)
Symphony 9: K = 62, C = 77 (24%)
There are clear benefits, to me, of the greater lengths, and there is no denying that Celibidache does possess intuitively the composer's own conception of timing and breath. There is no doubt in my mind that the beat is in tune with the Brucknerian universe: the planets are all in their orbits and their speeds and distances are well-regulated. Listening to Celibidaches's interpretation of the eighth symphony has convinced me that it is one of the greatest symphonies ever written.
The additional advantage of the richer 'longue duree' is that one is able to linger longer at various stages, allowing the listener to ponder thematic development at greater depth and to clarify the underlying instrumentation. Moreover, the clear breaks that Celibidache introduces between subject groups facilitate a greater understanding of Bruckner's symphonic argument.
The Penguin Guide says that Celibidache's eccentricities "place an insurmountable obstacle" for some listeners who may be "exasperated by his funereal tempi". But the late Robert Simpson, in his masterly "Essence of Bruckner" (a valuable volume for any Bruckner fan), explained how Celibidache's tempi in the finale of the fourth symphony dramatically illuminated its meaning for him. Simpson wrote, "It is a pity that Celibidache's refusal to make records has robbed us of a readily available and repeatable demonstration of naturally flexible but monumentally controlled, related tempi". With this CD set, we no longer feel robbed.
And this brings us to another issue. Celibidache eschewed the studio, so we only have live recordings upon which to rely. Consequently, these CDs are subject to the usual disadvantages of the live recording, although it must be said that the intrusion from coughs etc is barely noticeable. The sound quality is very good, sometimes excellent.
The set also includes Bruckner's mass in F minor, his Te Deum (usefully included on the CD with the seventh symphony) and extracts from his rehearsals with the Munich Philharmonic of the ninth Symphony. Each separate CD comes with its own booklet and its own brief essays.
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2 of 2 people found the following review helpful:
4.0 out of 5 stars
Fascinating yet Controversial, 31 Jan 2007
As an ardent fan of Bruckner, I can only advocate the buying of this set by Bruckner converts and not for the novice. The fact is you either love or loathe Celi's Bruckner. The same way as you either love or loathe Bruckner!
For me the qualities that stand out in this set are the extreme expression of monumentalism through his, at times, very slow tempi. This enables extreme intensity and drama to what is already colossal musical architecture.
Attention to detail: Celi draws out phrases that, quite simply you don't hear in a lot of other performances. Giving quite different dynamics sometimes.
Tonal beauty: Although I don't think this is the finest orchestra I've heard. They make up for it in spirit and enthusiasm. Celi wrings every last drop out of this orchestra. (listen how expressive he plays the slow movemnet of the sixth). Had he had the VPO or BPO at his disposal, then those orchestras egos would have probably taken precedence and the effect might not have been the same.
Things against? Sometimes I think he plays these works so slowly just to be different to his conducting colleagues. After all, he thought he was the best Brucknerian of them all. Therefore he had an apparent ego problem himself!
Sound quality differs from symphony to symphony. Nos 3,6,7 and 9 are good, while No 5 sounds rather flat. Nos 5 and 7 are the biggest disappointments for me. They are just two slow and drawn out for my taste. And at times the orchestra struggles to follow what the conductor wants. While Nos 8 and 9 lend themselves well to his overblown approach.
And where are Symphonies Nos 1, 2, 0 and 00. What a shame we can't have the full set by him! But nice to have the Mass and Te Deum. They are also played slower than most other recordings.
Last but not least, It's very expensive. At over seventy quid. You need to be enthusiastic!!.
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