Anton Bruckner - Symphonie Nr. 6 - Celibidache, Muenchner (1998) [FLAC]

MUSiC. May 21, 2011 by iStore.
Anton Bruckner - Symphonie Nr. 6 - Celibidache, Muenchner (1998) [FLAC]

Anton Bruckner - Symphonie Nr. 6 - Celibidache, Muenchner (1998) [FLAC]
EAC Rip | FLAC (Tracks) - Cue - Log | Scans Complete | Release: 1998 | 592 MB
Gerne: Classical

Celibidache spoke of other composers with respect or critical acknowledgement - but it was with love that he spoke of Bruckner. The worldly-wise polymath Celibidache felt a deep affinity for Bruckner seen by his contemporaries as naive and unsophisticated. "lf l had time, I would study Bruckner's life - as a phenomenological participant. And yet I originally felt an intruder in his world."

Bruckner's world is littered with contradictions, summed up here by Erwin Doernberg: "The fundamental puzzle with Bruckner. this shy and seemingly limited man, is his inexplicable gift for composing with a sureness and wealth of ideas entirely lacking in his daily life. "Bruckner came nearer to Celibidache's understanding of the essence of music than any other composer. "He was the greatest symphonist of all time," said Celibidache; "no one penetrated so far into the cosmos as Bruckner with his ability to correlate sounds and systems of sound."

The ability to perceive all the parts of a work in relation to one another and to the whole, even at the conceptual stage, allowed Bruckner to move unerringly forward in his process of creation - even if the necessary feedback from performances of his works was largely denied him. "If only he could have once really heard what he wrote!" said Celibidache of the Sixth Symphony - in allusion less to the fact that the sole performance in Bruckner's lifetime, in the hall of the Vienna Musikverein in 1883, was of the second and third movements only than to the low standard of early performances in general, which had little to do with Bruckner's spiritual and intellectual conception.

After the fragmentary premiere, which, as always in Vienna, was predominantly slated by the press, the fruits of two years' work were withdrawn from circulation. Although the Sixth Symphony is amongst those to which Bruckner himself made no subsequent alterations, that did not protect it from distortion at the hands of others. The first performance of all four movements under Gustav Mahler almost three years after Bruckner's death was heavily cut, and the first edition of the score displays numerous changes believed necessary by Bruckner's disciples. It was not until 1935 that the original version was published.

These circumstances may have contributed to the low esteem that the Sixth has undeservedly enjoyed up to the present day in comparison to Bruckner's other symphonies, even though - specifically in comparison with the colossal Fifth - its more modest dimensions make it more approachable. Its avoidance of excess contrapuntal freight, its spare form and higher degree of concentration make it more comprehensible and accessible than the other symphonies.

At the same time, the Sixth does not conform to the stereotypes often associated with the name of Bruckner. and offers little scope for flights of emotional edification: far removed from all bombastic emotion, its ascents and peaks of ecstasy evince a cool grandeur. In any case, the Sixth is not a symphony of militant conflict. Except in the Finale, which does most to display the drama we associate with sonata form, the contrasts here appear internalized. Complex rhythms and veiled tonality often result in an ambivalent musical language with positively modern characteristics. The effect is all the more overpowering when - as, say, in the coda of the first movement - the opposing rhythmical forces fuse into a stable unity and the harmonic progression gains a targeted stringency from following a sequence of orientation In fifths. The brief Scherzo is altogether lacking in a concise theme, replacing it with an almost Impalpable motivic web that gives the movement a ghostly, droll quality, quite unlike Bruckner's other scherzos.

The second movement, the heart of the symphony, gains its exceptional effect from the realization of Bruckner's marking "Adagio. Sehr feierlich" (Very solemnly). How, though, are the contrasts to be expressed? What must the middle parts be called on to sustain, to Justify such a slow tempo? Surely there has never before been a conductor who took Bruckner's intentions so utterly seriously as Celibidache did in Munich. And so we partake of a continuum that unfolds with compelling necessity, releasing the listener only when it has matured into totality.

"Bruckner's genius lay in reasoning: How much have I ventured? How will it finish?" This, in Celibidache's eyes, was what fundamentally distinguished him from Mahler and a succession of other composers. Bruckner had recognized that the forces in play can be brought into equilibrium only in a certain manner. He understood that aspect of the music which is above human will and at one with the cosmos.

Imparting this truth, the freedom "to do it so because one can do no other", was the essence of Celibidache's work with the orchestra. "We try to give the parts a chance to integrate themselves into the whole. Music begins where all the partial aspects come to an end." This work could not commence until the participants had jettisoned the baggage of preconceptions and habits they had inevitably brought with them and become unconditionally prepared to respond to the active forces working on them. The resulting performances drew their validity from the fact that they were shaped not by memory but by living experience.

"At the end of a Bruckner symphony we experience a feeling of perfection - the feeling of having been through it all." There are worlds between this experience and the composer's painfully limited life. "Bruckner shows us a way out of limitation and mortality", said Celibidache, who throughout his life never tired of passing on this gift to others.
I. Applause 1 0:51
II. Majestoso 17:02
III. Adagio. Sehr feierlich 22:01
IV. Scherzo. Nicht schnell - Trio. Langsam 08:18
V. Finale. Bewegt, doch nicht zu schnell 15:08
VI. Applause 2 0:58

Total time: 65:46

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