Scores

A simple five-part motet as a vocal thanksgiving.

Michaël Vancraeynest (°1976) wrote Tell the Lord how thankful you are for the colloquium for liturgical music that took place in Vaalbeek in August 2016. Vancraeynest's work is a setting of Psalm 118 for two equal voices and piano. The psalm opens in unison with a cheerful melody, which is then repeated with the addition of a counter voice. The middle section changes in text and key. Smooth composition for equal voices choirs who are looking for liturgical repertoire.

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

Spring by Noah Thys is an excerpt from Seasonal Snapshots: Japanese Haiku Cycle for mixed choir SAATBB on English translations of haikus by Japanese poets throughout history. The complete cycle consists of 5 parts; in addition to the seasons, the night is also sung about. You can already get to know the third part on Koorklank.

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.

O Salutaris Hostia is a simple but very beautiful four-part work that appeared with the Koor&Stem magazine Stemband in September 2011.

Maria durch ein' Dornwald ging is a well-known pilgrim's song from Eichsfeld (Niedersachsen) that has been sung as an Advent song since the 20th century.

Norbert Rosseau wrote about six masses. This Missa in honorem spiritus sancti is dedicated to Noel Van Wambeke and Pros Goethals, the conductors of the cathedral choir in Ghent. This work is in Latin, later Rosseau would also write church music for them in Dutch.

Beata viscera was written in 2005 for the choral scores we published with the magazine Stemband of Koor&Stem. It is an easy and appealing composition in which all voices are assigned an interesting line.

Diederik Glorieux adapted two lamentations and the closing Turkish cradle song from his work Plainte especially for our website Choral Music from Flanders to Two laments and Lullaby. He reduced the score to a mixed choir and organ so that a choir can also sing the work in other circumstances, without the specific instrumentation and the original link of the Plainte to J.S. Bach's Actus Tragicus.