Scores
- Adriaan Willaert (1)
- Carl Van Eyndhoven (1)
- Chris Dubois (1)
- Cypriano De Rore (1)
- Dirk De Nef (1)
- Frank Agsteribbe (1)
- Gilles Binchois (1)
- Hans Helsen (1)
- Hayne Van Ghizeghem (1)
- Heinrich Isaac (1)
- Hubert Waelrant (1)
- Jacob Obrecht (1)
- Jacobus Clemens non papa (1)
- Jan Van der Roost (2)
- Johannes Ockeghem (1)
- Josquin Desprez (1)
- Koen Vits (1)
- Kristiaan Van Ingelgem (1)
- Lara Denies (1)
- Lucien Posman (1)
- Ludo Claesen (1)
- Maarten Van Ingelgem (1)
- Nicolaas Gombert (1)
- Noah Thys (1)
- Noor Sommereyns (1)
- Norbert Rosseau (1)
- Orlandus Lassus (1)
- Paul Steegmans (1)
- Paul Schollaert (1)
- Peter Benoit (1)
- Raymond Schroyens (1)
- Roland Coryn (1)
- Sebastiaan van Steenberge (1)
- Stijn Dierckx (1)
- Vic Nees (2)
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.
El Grillo is typical of a frottola, a simple profane song in Italian and musical ancestor of the madrigal.
The Missa Nubentium - in nubes progredientium was written for the wedding of his daughter Tineke: Mass for those who marry, advancing in the clouds.
An accessible four-part motet written for the European Music Festival of Youth, Neerpelt in 1977.
A tasteful simple three-part setting of one of the 150 Souterliedekens.
In 2019, Dubois wrote two arrangements for SATB a cappella of Ik zag Cecilia komen, created by the Geels Vocaal Ensemble conducted by Eva Vermeren during their concert trip to Barcelona. Dubois alternates canonical bits between single voices with full four voices. A short piece with melodic lines and surprising harmony.
Heinrich Isaac visited Innsbruck at least three times. In September 1484, 1500 and 1501. He therefore also had to leave the city several times. At least two versions of the song are known, for different occasions.
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.
Maarten Van Ingelgem (°1976) took his inspiration from the African Lamtietie Damtietie. The author of the text, Cornelis Jacob Langenhoven (1873-1932), is regarded as one of Africa’s best-known writers and, as a member of parliament, campaigned tirelessly for Afrikaans to be an official language in South Africa. The poetic text was expressed in an evocative contemporary lullaby for a children's, youth or women's choir that is not intimidated by chants and whistles. Dedicated to Ida & Ellis, daughters of Van Ingelgem.
Laudate Dominum by Sebastiaan van Steenberge is a challenge for an amateur choir and a refreshing liturgical work.
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