Bruckner for Guitar - a contradiction in terms?

Bruckner has been often described as a composer of works excessively long, large and complex. In its extreme form, such a claim can look like that:

Full-blooded romantic that he was in his music, his creative fancy was able to express itself only in over-sized, frame-bursting forms... [1].

On the other hand, the guitar, even if sometimes described as a small orchestra, e.g. by Segovia, has limited polyphonic possibilities and is distinguished generally by its mostly soft, intimate and ephemeral sound.

Some writers about guitar believe that some pieces are simply unsuitable for the instrument. Let me quote interesting passages found in an old Polish guitar magazine:

Playing Mussorgsky’s „Pictures at an Exhibition” or Bach’s „Goldberg Variations” on six strings should be regarded as a circus trick rather than a musical achievement even if performers are wonderful artists.

I remember my mixed feelings  when I saw David Russell, a great musician for whom guitar technique seems to have no secrets,”struggling” to play one of harpsichord suites by Haendel. A piece light and uncomplicated for a harpsichordist appeared to the public at the guitar concert as a heavy work not unlike a Bruckner symphony. [2]

Especially the latter comment presupposes that Bruckner symphonies are heavy and that music ideal for the guitar should be light as a feather. So maybe there is an inherent contradiction in the title of my project: BRUCKNER FOR GUITAR? Will soft guitar strings be able to support such complicated and heavy music or will they crush under its weight? Will the fragile guitar sound be able to deliver the inherent heaviness of this unique music?

1. Varro, M. ‘The Dual Personality of Great Composers,’ The Musical Quarterly, XXIII, no. 2, April 1937, pp. 137-146

2. Bartłomiej Budzyński, Czy walczyć o walce [Should we Fight for Waltzes], Świat Gitary 2(14)/April/May 1999 ( p. 14) (translated from Polish by me: M.Ł.)