Bruckner, Symphonies 3-9, Munich Philharmonic / Te Deum, S. Celibidache (Warner, re-released in 2011)
The orchestra played from what was reportedly a combination of the Haas and Nowak editions, but the duration of the performance, at a taut 78 minutes, did not seem to indicate that many of the passages excised by Bruckner were restored in this version. Our resident Brucknerian keeps track of the recorded Bruckner symphony cycles, and in preparing for this performance I happened to listen to Celibidache's recording with the Munich Phil, which clocks in at over 100 minutes by comparison. The BSO fielded almost all of the instruments called for in the score, including the four Wagner tubas (doubling on Horn 5-8), but only two of the three harps, which still made a beautiful sound in the middle two movements.
Tim Smith, A transcendent Bruckner 8th from Gunther Herbig, BSO (Baltimore Sun, January 17)
Simon Chin, Back to basics with the Baltimore Symphony Orchestra (Washington Post, January 19)
The opening Mozart piano concerto (C major, K. 467) was not necessary, but it is one of the most perfectly crafted examples of the genre. Herbig chose just the right tempo for each movement, against which the soloist, pianist Alon Goldstein, struggled because of a tendency to rush the beat, especially in the outer movements. That conflict, which frayed the edges of the beautifully woven fabric achieved by Herbig and the orchestra, lessened the final results, so that I would have preferred no Mozart and a little more infinity in the Bruckner.