Ramon Khalona replies to me:

>>I used to think that the Adagio rambled on aimlessly.  Now, after having
>>just listened to it, I think it's a masterpiece, and one of the most
>>perfect pieces Bruckner wrote.
>
>The performance has a lot to do with it.  In a good performance I always
>get this sensation of demons being exorcized (not that I have much
>experience in this subject) after the huge climax in the Adagio and of
>deep catharsis at the end of the movement when the brass holds those
>long sustained notes that dissipate into nothingness.  Giulini/VPO is
>incomparable here.

I agree that the performance is key.  I used to only have the Solti/CSO
recording.  Then a couple years ago I got the Skrowaczewski/Minnesota
(Reference Recordings), which was a revelation.  After hearing it, I
realized that interpretation of Bruckner requires a special approach
that many conductors lack, especially Solti.  I think the overarching
expressive lines are very tricky to follow, and are completely lost in
most interpretations, probably because the conductor doesn't give Bruckner
credit for having any overarching continuity.

Your synopsis of the Adagio is very interesting.  I don't remember from
my most recent listening if I got the same impressions.  Some impressions
that I do remember were: 1) Whenever I listen to the Adagio I can't help
but compare it to the Adagio from Mahler's 9th -- this time when I made
the comparison I felt that the Bruckner Adagio was the true source, and
the Mahler Adagio was sort of an imitation (Let's see if anyone is reading
this -- if so, I expect some heated rebuttals:-).  2) The adjective that
came to my mind to describe the Bruckner Adagio was "cosmic" (whatever
that means:-).

Mike Leghorn