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Gregorian And Ambrosian Chant

Gregorian & Ambrosian Chant / Various
Release Date: 05/18/2010 
Label:  Bis   Catalog #: 28514   Spars Code: DDD 
Composer:  AnonymousAdriano BanchieriBeneventan ChantAlbert Richenhagen,   ... 
Performer:  Harald SchlossmacherAlbert RichenhagenTheo Brandmüller
Orchestra/Ensemble:  Schola Choralis SolingenSchola Cantorum Coloniensis
Number of Discs: 2 
Recorded in: Stereo 
Length: 2 Hours 27 Mins. 

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Notes and Editorial Reviews

A welcome and inexpensive means of escape to a more spiritual world.

ragments of this 2-CD set reappeared on one of EMI/Virgin’s omnium gatherum collections in 2003: 1000 Years of Sacred Music (Virgin Classics 5621262). Peter Wells asked the pertinent question: what was the use of such a collection, but he ended by answering himself that the set as a whole would be a valuable resource. That larger collection seems to have bitten the dust but what we have here is much more valuable - at least for those with a modicum of scholarly interest in chant. I’m less sure that this is the place for the uninitiated to begin.

The chief interest for me lies in the side-by-side presentation of ‘Gregorian’ and ‘Ambrosian’
Read more chant on the first CD. I use the names in inverted commas because it’s far from certain that either of these saints had much to do with the chants which go by their names, at Rome and Milan respectively. Ambrose did compose a number of hymns and, possibly, the melodies associated with them, included the wonderful Easter Eve Exsultet jam angelica turba cælorum; the tradition that St Ambrose and St Augustine composed the Te Deum spontaneously as the former baptised the latter, however, is a beautiful invention but, unfortunately, it is just that.

With the hegemony of the Roman Rite following the Council of Trent in the sixteenth century, the so-called Tridentine Rite which replaced all but a handful of local variants and held sway until very recently, variants such as the Ambrosian at Milan and the Mozarabic at Toledo were largely side-lined. The Mozarabic is now celebrated in just one side chapel in Toledo Cathedral - celebrated nonchalantly and at a pace to put Olympic sprinters to shame when I attended in the 1960s, as if to indicate its supposed inferiority to the High Mass which followed, with some excruciating singing of Victoria.

The Ambrosian has some claim to be an older liturgy than the Roman, as witness the Creed (CD1, track 14) where it retained the original plural form, Credimus in unum Deum, we believe in one God, reduced to the singular Credo, I believe, in the Roman Mass until the plural was restored in both Roman and Anglican usage in the late 20th century.

This first CD was recorded live on the Feast of the Epiphany, January 6, in the Church of Great St Martin Cologne. The Epiphany has special significance in Cologne because it celebrates the Visit of the Magi, traditionally supposed to be three Kings, whose tombs are believed to be located in Cologne Cathedral. It begins with music for the First Vespers of Epiphany, celebrated on the preceding day, followed by music for Matins, Mass and Second Vespers of the Feast.

Certain unique features of the Ambrosian Rite are included - the Transitoria for First and Second Vespers (trs. 3 and 24), the Ingressa (tr.9) which takes the place at Milan of the Roman Introit (also included as tr.8) and the Psallenda (trs. 19-20). It must be admitted, however, that the chief differences between the two uses are textual - the Ingressa usually consists of a single scriptural sentence, not a psalm, as is the case with the Roman Introit. The Ingressa for Epiphany, for example, presented on track 9, Civitas non eget sole neque luna ut luceant in ea nam claritas Dei inluminavit eam et lucerna eius est agnus, is taken from Revelation 21:23: The city does not need the sun ... for God’s light illuminates it.

On the whole, the uninitiated are unlikely to hear much difference in the music except in the Gloria in excelsis, the Gregorian tone for which is well known. The Ambrosian setting of this in festive tone (tr.10) is available online for those able to read square-note notation in a version from a 12th-century manuscript. It’s a much simpler setting than that in the Roman liturgy, with generally one note per syllable except that each section is rounded off with melismatic flourishes. The other peculiarity is that it is followed in Ambrosian usage by a threefold Kyrie eleison.

The second CD consists of music associated with the Rosary - not texts which are recited during the Rosary but hymns and chants from the Missal and Breviary, beginning with the Marian Antiphon Alma Redemptoris Mater in simplex and sollemnis modes and encompassing the Joyful, Sorrowful and Glorious Mysteries, interspersed with organ improvisations recorded in a different venue. As a programme this works well and the organ interpolations serve to break up what would otherwise have been over an hour of plainchant.

The second disc ends with Ave Nobilis from the Benediktbeuern collection which gave its name to the Carmina Burana - don’t confuse it with the raunchier texts from that collection which Carl Orff set so memorably - two sequences for feasts of the Virgin Mary and the Ave Maria. The texts and Solesmes edition of the music of the Marian pieces can be found online.

The Schola Cantorum Coloniensis is a wholly adult male group, so that what we hear approximates to the sound that would be heard in monastic or cathedral use, though few monastic choirs could match the quality of the singing here. As such, it can sound a little unvaried, so beginners might prefer to take their plainsong in smaller doses on a recording which intersperses chant and polyphony, such as (to take just one example from the top of my head) From the Vaults of Westminster Cathedral, a Procession of Chant and Polyphony (Hyperion CDA67707. To compare the singing of Alleluia, vidimus stellam on that recording (tr.19) with that on the Virgin reissue (CD 1, tr.12) is like choosing between chalk and cheese: both are faithful renditions of the chant and at almost exactly the same tempo, but the high voices on the Westminster recording and the (unobtrusive) organ accompaniment take the music into a different domain. It’s a place where most possessors of innocent ears will feel more at home - but that doesn’t make one better than the other.

I’m not sure why two organists were involved, but their contributions are valuable, not just for breaking up the chant on CD 2.

The recordings are live, which involves an element of fairly subdued coughing and snuffling at times - never enough to disturb this listener. The voices are placed at a distance, which is as appropriate as Hyperion’s closer soundstage is for the Westminster recording. The perspective for the organ works on CD 2 is similar to that of the vocal items, so there is no dichotomy between the parts of the programme.

As usual with Virgin’s inexpensive 2-CD sets - and those of their EMI partners - the notes are very brief. For that reason and even more because of the complete absence of texts and translations, even online, it isn’t possible to recommend the set wholeheartedly, especially to the novice, despite the extremely attractive price, typically around £8.50 in the UK. There is almost nothing in the notes to tell the listener what the Ambrosian Rite is and, unfortunately, the most accessible book on music, the Oxford Companion, doesn’t help much either. The best online source is the very old Catholic Encyclopedia.

Those wishing to investigate the Ambrosian Rite and its music more fully should be aware of a Naxos CD entirely devoted to it, directed by Alberto Turco (8.553502). Only the Gloria in excelsis and Creed overlap with the Virgin reissue. The Gloria in excelsis and Te laudamus Transitory also feature on a Hungaroton CD of Ambrosian Chant for Advent and Christmas (The Schola Hungarica on HCD12889). Both of these are available for subscribers to the Naxos Music Library to try.

The reissue, then, is well worth its very modest cost. I wouldn’t recommend sitting down to listen to both CDs one after the other, though the organ improvisations on CD2 do offer a degree of variety. Bear in mind my feeling that the uninitiated might prefer to start with a recording which mixes chant and polyphony and that all would benefit from access to texts, otherwise buy with confidence.

-- Brian Wilson, MusicWeb International
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Works on This Recording

1. Isaiae prophetae (Lesson) by Anonymous
Performer:  Harald Schlossmacher (Cantor)
Orchestra/Ensemble:  Schola Choralis Solingen,  Schola Cantorum Coloniensis
Period: Medieval 
Date of Recording: 01/06/1983 
Venue:  Live  St. Martin Church, Cologne, Germany 
Length: 3 Minutes 25 Secs. 
2. Tribus miraculis, Magnificat, antiphon by Anonymous
Performer:  Harald Schlossmacher (Cantor)
Period: Medieval 
Written: Europe 
Date of Recording: 01/06/1983 
Venue:  Live  St. Martin Church, Cologne, Germany 
Length: 1 Minutes 31 Secs. 
3. Hodie caelesti sponso, antiphon, Mode 8 by Anonymous
Performer:  Harald Schlossmacher (Cantor)
Period: Medieval 
Written: Europe 
Date of Recording: 01/06/1983 
Venue:  Live  St. Martin Church, Cologne, Germany 
Length: 2 Minutes 29 Secs. 
4. Hostis Herodes impie, hymn by Anonymous
Performer:  Harald Schlossmacher (Cantor)
Period: Medieval 
Written: Europe 
Date of Recording: 01/06/1983 
Venue:  Live  St. Martin Church, Cologne, Germany 
Length: 3 Minutes 2 Secs. 
5. Hodie nobis beata illuxit, antiphon by Anonymous
Performer:  Harald Schlossmacher (Cantor)
Period: Medieval 
Written: Europe 
Date of Recording: 01/06/1983 
Venue:  Live  St. Martin Church, Cologne, Germany 
Length: 3 Minutes 0 Secs. 
6. Illuminare Jerusalem, responsory prolixum by Anonymous
Performer:  Harald Schlossmacher (Cantor)
Period: Medieval 
Written: Europe 
Date of Recording: 01/06/1983 
Venue:  Live  St. Martin Church, Cologne, Germany 
Length: 4 Minutes 59 Secs. 
7. Stella ista, antiphon by Anonymous
Performer:  Harald Schlossmacher (Cantor)
Period: Medieval 
Date of Recording: 01/06/1983 
Venue:  Live  St. Martin Church, Cologne, Germany 
Length: 4 Minutes 23 Secs. 
8. Ecce advenit, introit by Anonymous
Performer:  Harald Schlossmacher (Cantor)
Period: Medieval 
Written: Europe 
Date of Recording: 01/06/1983 
Venue:  Live  St. Martin Church, Cologne, Germany 
Length: 5 Minutes 47 Secs. 
9. Civitas non eget sole, ingressa by Anonymous
Performer:  Harald Schlossmacher (Cantor)
Period: Medieval 
Date of Recording: 01/06/1983 
Venue:  Live  St. Martin Church, Cologne, Germany 
Length: 2 Minutes 8 Secs. 
10. Gloria in excelsis, hymnus by Anonymous
Performer:  Harald Schlossmacher (Cantor)
Date of Recording: 01/06/1983 
Venue:  Live  St. Martin Church, Cologne, Germany 
Length: 3 Minutes 2 Secs. 
11. Omnes de Saba venient, gradual by Anonymous
Performer:  Harald Schlossmacher (Cantor)
Period: Medieval 
Written: Europe 
Date of Recording: 01/06/1983 
Venue:  Live  St. Martin Church, Cologne, Germany 
Length: 3 Minutes 42 Secs. 
12. Vidimus stellam, alleluia by Anonymous
Performer:  Harald Schlossmacher (Cantor)
Period: Medieval 
Written: Europe 
Date of Recording: 01/06/1983 
Venue:  Live  St. Martin Church, Cologne, Germany 
Length: 2 Minutes 12 Secs. 
13. Hallelujah (Puer natus est) by Anonymous
Performer:  Harald Schlossmacher (Cantor)
Date of Recording: 01/06/1983 
Venue:  Live  St. Martin Church, Cologne, Germany 
Length: 5 Minutes 13 Secs. 
14. Credimus in unum Deum, symbolium (for the Feast of Epiphany) by Anonymous
Performer:  Harald Schlossmacher (Cantor)
Period: Medieval 
Date of Recording: 01/06/1983 
Venue:  Live  St. Martin Church, Cologne, Germany 
Length: 3 Minutes 29 Secs. 
15. Reges Tharsis, offertory by Anonymous
Performer:  Harald Schlossmacher (Cantor)
Period: Medieval 
Written: Europe 
Date of Recording: 01/06/1983 
Venue:  Live  St. Martin Church, Cologne, Germany 
Length: 9 Minutes 44 Secs. 
16. Vidimus stellam eius in oriente by Anonymous
Performer:  Harald Schlossmacher (Cantor)
Period: Medieval 
Date of Recording: 01/06/1983 
Venue:  Live  St. Martin Church, Cologne, Germany 
Length: 3 Minutes 13 Secs. 
17. Videntes stellam Magi, Magnificat Antiphon by Anonymous
Performer:  Harald Schlossmacher (Cantor)
Period: Medieval 
Written: Europe 
Date of Recording: 01/06/1983 
Venue:  Live  St. Martin Church, Cologne, Germany 
Length: 0 Minutes 30 Secs. 
18. Apparuit in mundo, psallenda by Anonymous
Performer:  Harald Schlossmacher (Cantor)
Period: Medieval 
Date of Recording: 01/06/1983 
Venue:  Live  St. Martin Church, Cologne, Germany 
Length: 1 Minutes 26 Secs. 
19. O qualm gloriam, antiphon by Anonymous
Performer:  Harald Schlossmacher (Cantor)
Period: Medieval 
Written: Europe 
Date of Recording: 01/06/1983 
Venue:  Live  St. Martin Church, Cologne, Germany 
Length: 0 Minutes 59 Secs. 
20. Admonti magi, Magnificat Antiphon by Anonymous
Performer:  Harald Schlossmacher (Cantor)
Period: Medieval 
Written: Europe 
Date of Recording: 01/06/1983 
Venue:  Live  St. Martin Church, Cologne, Germany 
Length: 0 Minutes 33 Secs. 
21. Tria sunt munera, responsory by Anonymous
Performer:  Harald Schlossmacher (Cantor)
Period: Medieval 
Written: Europe 
Date of Recording: 01/06/1983 
Venue:  Live  St. Martin Church, Cologne, Germany 
Length: 5 Minutes 5 Secs. 
22. Te laudamus, transitorium by Anonymous
Performer:  Harald Schlossmacher (Cantor)
Period: Medieval 
Written: Europe 
Date of Recording: 01/06/1983 
Venue:  Live  St. Martin Church, Cologne, Germany 
Length: 2 Minutes 4 Secs. 
23. Alma Redemptoris, offertory by Anonymous
Orchestra/Ensemble:  Schola Cantorum Coloniensis
Period: Medieval 
Written: Europe 
Date of Recording: 09/10/1994 
Venue:  Live  St. Laurentius, Marmagen, Eifel 
Length: 1 Minutes 36 Secs. 
24. Ave Maria, gratia plena, offertory in mode 8 for the 4th Sunday in Advent by Anonymous
Period: Medieval 
Written: Europe 
Date of Recording: 09/10/1994 
Venue:  Live  St. Laurentius, Marmagen, Eifel 
Length: 1 Minutes 54 Secs. 
25. Beatam me dicent by Adriano Banchieri
Performer:  Albert Richenhagen (Organ)
Period: Renaissance 
Date of Recording: 04/16/1993 
Venue:  Live  St. Maria Himmelfahrt-Kirche, Köln 
Length: 0 Minutes 45 Secs. 
26. In splendoribus sanctorum, communion chant (1st Mass of Christmas) by Anonymous
Performer:  Albert Richenhagen (Organ)
Period: Medieval 
Written: Europe 
Date of Recording: 04/16/1993 
Venue:  Live  St. Maria Himmelfahrt-Kirche, Köln 
Length: 0 Minutes 31 Secs. 
27. Lumen ad revelationem, antiphon in mode 8 by Anonymous
Performer:  Albert Richenhagen (Organ)
Period: Medieval 
Written: Europe 
Date of Recording: 04/16/1993 
Venue:  Live  St. Maria Himmelfahrt-Kirche, Köln 
Length: 0 Minutes 37 Secs. 
28. Fili quid fecisti, antiphon (Mode 8) by Anonymous
Performer:  Albert Richenhagen (Organ)
Period: Medieval 
Date of Recording: 04/16/1993 
Venue:  Live  St. Maria Himmelfahrt-Kirche, Köln 
Length: 1 Minutes 13 Secs. 
29. Ave Regina caelorum, Marian antiphon by Anonymous
Period: Medieval 
Written: Europe 
Date of Recording: 09/10/1994 
Venue:  Live  St. Laurentius, Marmagen, Eifel 
Length: 0 Minutes 45 Secs. 
30. Pater, si non potest, communion by Anonymous
Period: Medieval 
Written: Europe 
Date of Recording: 09/10/1994 
Venue:  Live  St. Laurentius, Marmagen, Eifel 
Length: 0 Minutes 27 Secs. 
31. Popule meus by Beneventan Chant
Performer:  Theo Brandmüller (Organ)
Period: Medieval 
Date of Recording: 04/16/1993 
Venue:  Live  St. Maria Himmelfahrt-Kirche, Köln 
Length: 0 Minutes 56 Secs. 
32. Ego propter te, improperium by Anonymous
Performer:  Theo Brandmüller (Organ)
Period: Medieval 
Date of Recording: 04/16/1993 
Venue:  Live  St. Maria Himmelfahrt-Kirche, Köln 
Length: 0 Minutes 42 Secs. 
33. Crux fidelis, inter omnes, hymn (GR 182) by Anonymous
Performer:  Theo Brandmüller (Organ)
Period: Medieval 
Written: Europe 
Date of Recording: 04/16/1993 
Venue:  Live  St. Maria Himmelfahrt-Kirche, Köln 
Length: 0 Minutes 45 Secs. 
34. Christus factus est, gradual in mode 5 (Liber Usualis, No 655) by Anonymous
Performer:  Theo Brandmüller (Organ)
Period: Medieval 
Written: Europe 
Date of Recording: 04/16/1993 
Venue:  Live  St. Maria Himmelfahrt-Kirche, Köln 
Length: 1 Minutes 1 Secs. 
35. Regina caeli laetare by Anonymous
Period: Medieval 
Date of Recording: 09/10/1994 
Venue:  Live  St. Laurentius, Marmagen, Eifel 
Length: 0 Minutes 34 Secs. 
36. Introit: Resurrexi (Mode IV) (B) by Anonymous
Period: Medieval 
Date of Recording: 09/10/1994 
Venue:  Live  St. Laurentius, Marmagen, Eifel 
Length: 1 Minutes 18 Secs. 
37. Ascendit Deus, offertory, mode 1 by Anonymous
Performer:  Albert Richenhagen (Organ)
Period: Medieval 
Date of Recording: 04/16/1993 
Venue:  Live  St. Maria Himmelfahrt-Kirche, Köln 
Length: 1 Minutes 24 Secs. 
38. Factus est repente, communio by Anonymous
Performer:  Albert Richenhagen (Organ)
Period: Medieval 
Written: Europe 
Date of Recording: 04/16/1993 
Venue:  Live  St. Maria Himmelfahrt-Kirche, Köln 
Length: 1 Minutes 4 Secs. 
39. Assumpta est Maria, offertorium by Anonymous
Performer:  Albert Richenhagen (Organ)
Period: Medieval 
Written: Europe 
Date of Recording: 04/16/1993 
Venue:  Live  St. Maria Himmelfahrt-Kirche, Köln 
Length: 1 Minutes 41 Secs. 
40. Signum Magnum, introit in mode 7 by Anonymous
Performer:  Albert Richenhagen (Organ)
Period: Medieval 
Date of Recording: 04/16/1993 
Venue:  Live  St. Maria Himmelfahrt-Kirche, Köln 
Length: 1 Minutes 6 Secs. 
41. Salve Regina, antiphon in mode 1 by Anonymous
Period: Medieval 
Written: by 1135 
Date of Recording: 09/10/1994 
Venue:  Live  St. Laurentius, Marmagen, Eifel 
Length: 1 Minutes 31 Secs. 
42. Solis, o Virgo, hymn in mode 4 by Anonymous
Period: Medieval 
Date of Recording: 09/10/1994 
Venue:  Live  St. Laurentius, Marmagen, Eifel 
Length: 1 Minutes 58 Secs. 
43. Ave nobilis venerabilis Maria, CB Supplementum 11 by Anonymous
Period: Renaissance 
Date of Recording: 09/10/1994 
Venue:  Live  St. Laurentius, Marmagen, Eifel 
Length: 3 Minutes 19 Secs. 
44. Sicut pratum (polyphony) by Anonymous
Period: Medieval 
Date of Recording: 09/10/1994 
Venue:  Live  St. Laurentius, Marmagen, Eifel 
Length: 3 Minutes 8 Secs. 
45. Hodierne lux diei, sequence by Anonymous
Period: Medieval 
Date of Recording: 09/10/1994 
Venue:  Live  St. Laurentius, Marmagen, Eifel 
Length: 3 Minutes 1 Secs. 
46. Ave Maria, antiphon by Anonymous
Period: Medieval 
Date of Recording: 09/10/1994 
Venue:  Live  St. Laurentius, Marmagen, Eifel 
Length: 1 Minutes 0 Secs. 
47. Alma Redemptoris Mater, antiphon by Anonymous
Period: Medieval 
Written: Germany 
Date of Recording: 09/10/1994 
Venue:  Live  St. Laurentius, Marmagen, Eifel 
Length: 1 Minutes 2 Secs. 
48. Improvisation on Ave Maria, gratia plena, for organ by Albert Richenhagen
Performer:  Albert Richenhagen (Organ)
Period: Contemporary 
Date of Recording: 04/16/1993 
Venue:  Live  St. Maria Himmelfahrt-Kirche, Köln 
Length: 2 Minutes 1 Secs. 
49. Improvisation on Beatam me dicent, for organ by Albert Richenhagen
Performer:  Albert Richenhagen (Organ)
Period: Contemporary 
Date of Recording: 04/16/1993 
Venue:  Live  St. Maria Himmelfahrt-Kirche, Köln 
Length: 2 Minutes 12 Secs. 
50. Improvisation on In spendoribus sanctorum, for organ by Albert Richenhagen
Performer:  Albert Richenhagen (Organ)
Period: Contemporary 
Date of Recording: 04/16/1993 
Venue:  Live  St. Maria Himmelfahrt-Kirche, Köln 
Length: 2 Minutes 12 Secs. 
51. Improvisation on Lumen ad revelationem gentium, for organ by Albert Richenhagen
Performer:  Albert Richenhagen (Organ)
Period: Contemporary 
Date of Recording: 04/16/1993 
Venue:  Live  St. Maria Himmelfahrt-Kirche, Köln 
Length: 1 Minutes 46 Secs. 
52. Improvisation on Fili, quid fecisti nobis sic?, for organ by Albert Richenhagen
Performer:  Albert Richenhagen (Organ)
Period: Contemporary 
Date of Recording: 04/16/1993 
Venue:  Live  St. Maria Himmelfahrt-Kirche, Köln 
Length: 2 Minutes 44 Secs. 
53. Improvisation on Ave Regina caelorum, for organ by Theo Brandmüller
Period: Contemporary 
Date of Recording: 09/10/1994 
Venue:  Live  St. Laurentius, Marmagen, Eifel 
Length: 1 Minutes 24 Secs. 
54. Improvisation on Pater, si non potest hic calix transire, for organ by Theo Brandmüller
Performer:  Theo Brandmüller (Organ)
Period: Contemporary 
Date of Recording: 04/16/1993 
Venue:  Live  St. Maria Himmelfahrt-Kirche, Köln 
Length: 2 Minutes 19 Secs. 
55. Improvisation on Popule meus, for organ by Theo Brandmüller
Performer:  Theo Brandmüller (Organ)
Period: Contemporary 
Date of Recording: 04/16/1993 
Venue:  Live  St. Maria Himmelfahrt-Kirche, Köln 
Length: 1 Minutes 46 Secs. 
56. Improvisation on Ego propter te, for organ by Theo Brandmüller
Performer:  Theo Brandmüller (Organ)
Period: Contemporary 
Date of Recording: 04/16/1993 
Venue:  Live  St. Maria Himmelfahrt-Kirche, Köln 
Length: 2 Minutes 3 Secs. 
57. Improvisation on Crux fidelis, for organ by Theo Brandmüller
Performer:  Theo Brandmüller (Organ)
Period: Contemporary 
Date of Recording: 04/16/1993 
Venue:  Live  St. Maria Himmelfahrt-Kirche, Köln 
Length: 2 Minutes 49 Secs. 
58. Improvisation on Christus factus est pro nobis, for organ by Theo Brandmüller
Performer:  Theo Brandmüller (Organ)
Period: Contemporary 
Date of Recording: 04/16/1993 
Venue:  Live  St. Maria Himmelfahrt-Kirche, Köln 
Length: 3 Minutes 10 Secs. 
59. Improvisation on Regina, caeli laetare, for organ by Anonymous
Period: Contemporary 
Date of Recording: 09/10/1994 
Venue:  Live  St. Laurentius, Marmagen, Eifel 
Length: 1 Minutes 40 Secs. 
60. Improvisation on Resurrexi, for organ by Albert Richenhagen
Performer:  Albert Richenhagen (Organ)
Period: Contemporary 
Date of Recording: 04/16/1993 
Venue:  Live  St. Maria Himmelfahrt-Kirche, Köln 
Length: 1 Minutes 50 Secs. 
61. Improvisation on Ascendit Deus, for organ by Albert Richenhagen
Performer:  Albert Richenhagen (Organ)
Period: Contemporary 
Date of Recording: 04/16/1993 
Venue:  Live  St. Maria Himmelfahrt-Kirche, Köln 
Length: 1 Minutes 29 Secs. 
62. Improvisation on Factus est repente, for organ by Albert Richenhagen
Performer:  Albert Richenhagen (Organ)
Period: Contemporary 
Date of Recording: 04/16/1993 
Venue:  Live  St. Maria Himmelfahrt-Kirche, Köln 
Length: 1 Minutes 33 Secs. 
63. Improvisation on Assumpta est Maria, for organ by Albert Richenhagen
Performer:  Albert Richenhagen (Organ)
Period: Contemporary 
Date of Recording: 04/16/1993 
Venue:  Live  St. Maria Himmelfahrt-Kirche, Köln 
Length: 1 Minutes 31 Secs. 
64. Improvisation on Signum magnum apparuit, for organ by Albert Richenhagen
Performer:  Albert Richenhagen (Organ)
Period: Contemporary 
Date of Recording: 04/16/1993 
Venue:  Live  St. Maria Himmelfahrt-Kirche, Köln 
Length: 4 Minutes 42 Secs. 
65. Improvisation on Salve Regina, for organ by Albert Richenhagen
Period: Contemporary 
Date of Recording: 09/10/1994 
Venue:  Live  St. Laurentius, Marmagen, Eifel 
Length: 2 Minutes 18 Secs. 

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