Scores

In Veni Sancte Spiritus Frank Agsteribbe combines pure Gregorian chant with simple homophonic settings into a tasteful whole.

This mass has no exact composition date and originated somewhere between 1450 and 1480.

Jan Van der Roost's Rorate Coeli was first published in 2009. It's an excellent work of easy to moderate difficulty.

Repleatur os meum is a fresh choral work on psalm texts for two equal voices. It was written in 1969 and used in 1970 for the European Music Festival for Young People in Pelt (EMJ) in the Wimpel series. Repleatur os meum is a choir song that can be enjoyed by both the choir and the public.

Laudate Dominum by Sebastiaan van Steenberge is a challenge for an amateur choir and a refreshing liturgical work.

From Dufay, the profane song l'homme armé would become one of the most beloved cantus firmi. It originated in the second half of the 15th century. The popular melody has been used in more than thirty masses during the Renaissance period, of which the ones in Dufay, Ockeghem and Busnois are the earliest in the series. Jacob Obrecht paid tribute to his teacher Antoine Busnois by copying his composition of this melody as cantus firmus identically in his Missa l'homme armé.

An accessible four-part motet written for the European Music Festival of Youth, Neerpelt in 1977.

The Missa Nubentium - in nubes progredientium was written for the wedding of his daughter Tineke: Mass for those who marry, advancing in the clouds.

Ego sum vitis vera (I am the true vine) is a communion song. The beautiful text inspired the composer to create a composition with a drive and a storyline through a play between male and female choir, surrounded by flowing and natural lines and uplifting sound auras. Rhythmically, this is not an easy piece, but once the score is mastered, the fruits are all the sweeter.

Paul Steegmans wrote a simple religious work: Ego sum panis, suitable for liturgy or concert.