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NA 7412
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NA 7412

GANSEBUCH (DAS) (THE GEESE BOOK): German Medieval Chant

The Classical Shop
release date: July 2008

Originally recorded in 2008

Artists:

Janka Szendrei



Matthias Ank

organ

Schola Hungarica



Record Label
Naxos

Genre:

Classical




Total Time - 70:52
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KASPAR OTHMAYR / LUCAS OSIANDER

1 

Bicinium and Chorale: Komm, Heiliger Geist, Herre Gott

3:12
 Matthias Ank organ
     
 

ANONYMOUS

2 

Mass for Ascension: Introitus

2:41
 
 Janka Szendrei
     
 

HANS KOTTER

3 

Fantasia in C major

1:21
 Matthias Ank organ
     
 

ANONYMOUS

4 

Mass for the Holy Lance and the Nails: Introitus - Alleluia - Sequentia - Offertorium - Communio

12:37
 
 Janka Szendrei
     
 

CONRAD BRUMANN

5 

Carmen in G major

1:19
 Matthias Ank organ
     
 

ANONYMOUS

6 

Mass for Saint Deocarus: Alleluia - Sequentia

4:55
 
 Janka Szendrei
     
 

LUDWIG SENFL

7 

Ewiger Gott

2:37
 Matthias Ank organ
     
 

ANONYMOUS

8 

Mass for Saint Sebaldus: Introitus - Graduale - Alleluia - Sequentia - Offertorium - Communio

12:56
 
 Janka Szendrei
     
 

HEINRICH ISAAC

9 

Ricercare in D minor

2:28
 Matthias Ank organ
     
 

ANONYMOUS

10 

Mass for Saint Monica: Offertorium

1:10
 
 Janka Szendrei
     
 

CONRAD PAUMANN

11 

Kyrie Angelicum

2:25
 Matthias Ank organ
     
 

ANONYMOUS

12 

Mass for Saint Martha: Introitus - Graduale - Alleluia - Sequentia - Offertorium - Communio

16:50
 
 Janka Szendrei
     
 

ARNOLT SCHLICK

13 

Maria zart

2:18
 Matthias Ank organ
     
 

ANONYMOUS

14 

Mass for Saint Lawrence: Introitus

1:48
 
 Janka Szendrei
     
 

HEINRICH FINCK

15 

Ich wird erlost

1:22
 Matthias Ank organ
     
 

N/A NOT APPLICABLE

16 

Bells of the Church of St. Lorenz

0:53
 
No Notes Found.
"...This disc will have a permanent place among chant recordings of unique significance. Don’t pass it by."
 
JF Weber - Fanfare - November 2005

"I admit it was the cover that got my attention -first, the title, referring to an 1120-page manuscript collection containing the only existing original copies of pre-Reformation liturgical music from Nuremburg; second, the illustration, an illumination from the collection that depicts a wolf directing a choir of geese singing from a large music book, a hungry-looking fox sitting on hind-quarters just behind the choir. Upon listening to the music, I was reassured that there was more to appreciate here than the intriguing, colorful illustration and charming title. The focus of the singing is late-medieval chants from various Masses particular to the church of St. Lorenz in Nuremburg. The disc’s producers wisely interspersed the chant selections with short organ pieces from 15th- and 16th-century German composers. The combination works well, retaining the appropriate celebratory mood and church ambience while offering the ear welcome variety of sounds and textures. (The notes also mention that organ music was part of the St. Lorenz liturgy, thus its inclusion here, performed on the St. Lorenz organ by the church’s music director Matthias Ank.) Some of the chants offered are world-premieres--particularly interesting are those from Nuremburg’s "most important feast day", the Feast of the Holy Lance and Nails. The celebration involved significant pomp and circumstance where imperial relics were displayed in the market square. Another appealing feature of this program is the alternating use of different voices -men, children, and women sing together and separately, the range of colors and relative "weight" of the voices giving a distinctive character to various parts of the Mass. All of the singers are first rate, but special mention goes to the children’s lovely tone and impeccable phrasing and diction. The liner notes are informative and pertinent; the sound conveys the natural resonant space of the church while clearly, cleanly capturing the voices. If you enjoy chant-and beautiful illuminated manuscripts-you’ll find this 71 minutes well worth your while."
 
David Vernier - ClassicsToday.com - December 2006
 

"...The singing of the Schola Hungarica is gorgeous, as usual. Their nimble interpretation of the chants makes them seem more expressive, more alive than one sometimes feels about chant when it is sung lugubriously. The intonation of the ensemble is impeccable, especially when the men and women sing together in octaves. The soprano voices are light and brilliant - a timbre that I notice has become more normative among ensembles that specialize in chant..."
 
Lowen - American Record Guide - January 2006
 



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