Scores
- Adriaan Willaert (1)
- Alain Craens (1)
- August De Boeck (1)
- Carl Van Eyndhoven (4)
- Chris Dubois (1)
- Cypriano De Rore (1)
- Diederik Glorieux (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)
- Jacques Nicolas Lemmens (1)
- Jan Van der Roost (2)
- Johannes Ockeghem (1)
- Josquin Desprez (1)
- José Retra (1)
- Koen Vits (1)
- Kristiaan Van Ingelgem (1)
- Lara Denies (1)
- Liesbeth Decrock (2)
- Lieven Duvosel (1)
- Lodewijk De Vocht (1)
- Lucien Posman (1)
- Ludo Claesen (2)
- Maarten Van Ingelgem (1)
- Marcel Ponseele (1)
- Michael Vancraeynest (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)
- Philippus De Monte (1)
- Pierre-Hercule Brehy (1)
- Raymond Schroyens (1)
- Roland Coryn (1)
- Sebastiaan van Steenberge (2)
- Stijn Dierckx (2)
- Vic Nees (2)
- Vigdis Hansa Elst (1)
- Wim Henderickx (1)
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.
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.
Especially for one of Koor&Stem's repertoire days Sebastiaan Van Steenberge wrote a Christmas song that immediately appealed to all participants. A three-part, simple gem on the famous text In the bleak midwinter by Christina Rosetti.
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.
A tasteful simple three-part setting of one of the 150 Souterliedekens.
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.
Here you can find the original Dutch version of Fruit salad for the choir in Dutch: Fruitsla voor het koor
This composition has as only text different sorts of fruit in English. Throughout the piece, the salad is prepared by the way of singing in the choir, but also by a percussionist who cuts the pieces in a rythmical way. In the ultimate minutes of the composition, the choir eats the fruit salad. Voices disappear one by one, untill the bowl of fruit salad is empty.
Fortuna vitrea est is a three-part work with piano accompaniment based on a beautiful saying in Latin. Originally, this piece was written for SSA, but has not yet been performed in that line-up. Especially for Koor&Stem, Vigdis reworked the piece into a version for SAB with piano, the existing material shaped a brand new piece. The composer wrote a number of pages around the text Fortuna vitrea est tum cum splendit (Happiness is like glass, when it is at its shiniest...) only to unleash onto the audience the pointe frangitur (it breaks) in short notes in the last bar as a finale of the piece.
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