Scores
- Adriaan Willaert (1)
- August De Boeck (1)
- Carl Van Eyndhoven (2)
- Chris Dubois (1)
- Frank Agsteribbe (1)
- Heinrich Isaac (1)
- Hubert Waelrant (1)
- Jan Van der Roost (2)
- Johannes Ockeghem (1)
- Josquin Desprez (1)
- Kristiaan Van Ingelgem (1)
- Liesbeth Decrock (2)
- Lieven Duvosel (1)
- Lucien Posman (1)
- Ludo Claesen (1)
- Noor Sommereyns (1)
- Norbert Rosseau (1)
- Orlandus Lassus (1)
- Paul Steegmans (1)
- Paul Schollaert (1)
- Pierre-Hercule Brehy (1)
- Raymond Schroyens (1)
- Roland Coryn (1)
- Sebastiaan van Steenberge (1)
- Stijn Dierckx (2)
- Vic Nees (1)
Frank Agsteribbe launched in 2019 a recording at Etcetera of Flemish Requiem - Vlaams Requiem. The Lux Aeterna is a part from Bréhy's Requiem Mass that you will find in its entirety.
On the occasion of the Week of Belgian Music, Carl Van Eyndhoven wrote an arrangement of Marina by Rocco Granata. Choirs and sympathizers chose this song from a series of 12 golden hits.
Nobody expected that Marina would become such a worldwide hit. Here you will find an a cappella version for SATB.
Matona mia cara is a warm-blooded, promising and somewhat flat soldier song. Sometimes it is wrongly thought that this is a Maria song, but in reality it is about a soldier trying to seduce a beautiful lady.
Raymond Schroyens wrote a charming song on a text by the Scottish poet Robert Burns (1759 - 1796). The soft melody roams through all voices. Meanwhile, My love is widely known among choirs at home and abroad.
O Salutaris Hostia is a simple but very beautiful four-part work that appeared with the Koor&Stem magazine Stemband in September 2011.
Jan Van der Roost's Rorate Coeli was first published in 2009. It's an excellent work of easy to moderate difficulty.
This mass has no exact composition date and originated somewhere between 1450 and 1480.
Vecchie letrose is a villanscha. Willaert wrote fifteen of these kind of songs. Vecchie letrose is still very popular. Since it is very short, it is usually sung several times in succession, sometimes interspersed with instrumental versions. The text is spoken/sung by a lover who makes fun of the envious old women, under whose care the girl in love is placed.
In Veni Sancte Spiritus Frank Agsteribbe combines pure Gregorian chant with simple homophonic settings into a tasteful whole.
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