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kvitske

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About kvitske

  • Rank
    Hemiola
  • Birthday 09/08/1989

Profile Information

  • Gender
    Male
  • Location
    België, Belgium, Belgique
  • Occupation
    Choir conductor, composer and music teacher
  • Favorite Composers
    Jules Van Nuffel
  • Notation Software/Sequencers
    Sibelius 7
  • Instruments Played
    organ, piano, violin and a little bit of flute, trombone, accordeon and guitar

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  1. Very nice piece! I absolutely loved listening to it. Just a few tiny thoughts: You are excellent at painting the mood for this piece, establishing the character. However, this comes at a cost: while the first three words are not by far the most interesting part of the text, they get a lot of attention. The next bit of text ("qui transitis per viam") is at least as interesting as "o vos omnes", but gets a lot less attention in your music. This could be, of course, a decision you make in composing this music to this particular text: for you the mood seems more important than the specific words. And that's absolutely a good choice. But making this choice knowingly could lift your music even higher. Try to sing your parts yourself and take some distance from your own score while doing this. Look at it as if you're a singer and not the composer. You will find that this music, while its atmosphere is very touching, is not very fun to sing. The parts on their own are a bit dull. Professional singers will sing this just fine (they get paid to do so), but amateurs will protest. Of course, then it's the conductors job to combine this with other, more challenging pieces, but that's another discussion. On the same note, maybe consider adding a c to the alto part in bar 28. The jump from ab to the d (first altos) is unexpected and not too easy to sing. The jump from g to low ab in the basses in bar 36-37 is the same, maybe you could add the low g on 'per' in bar 36 already? Just a suggestion to make the parts easier to sing. Again, singing them yourself is the best way to detect places like this. (Also, in bar 78 the basses have to jump from b to low c) The ending is too abrupt to my liking, not fitting in with the rest of the mood. Bars 38 to 44 are absolutely brilliant! Good voicing, interesting music, just beautiful! I'm looking forward to hearing more!!
  2. Lux aeterna, "May everlasting light shine upon them, O Lord" Normally a part of the requiem mass, if I ever decide to write a requiem mass I'll have one piece finished already! But for now, this is as it is. The idea started when my father had a heart attack which of course frightened me a lot. I found peace and calm in composing this. I'm not entirely too happy with the B- and F-part ("cum sanctis tuis in aeternum"), although I really like the ending ("quia pius es.") so I'm leaving it as it is for now, until something better comes along. If I continue writing other parts of the requiem, I'll probably be using the D-part of this piece as a beginning, so it returns in this piece (which comes later in the requiem mass).
  3. The right to use a cell phone has to be earned, imo. Earned by, for example, not using it while you're out eating with someone, not using it whilst in a conversation and making sure it is completely off when it should be, like in a concert, be it a concert by aunt Mary and uncle James on the piano in the local bar, or the New York Philharmonic...
  4. The carillon, I've wanted to play it since I was a kid... or at least a teenager... ;)
  5. I nominate Jules Van Nuffel. A Belgian composer, even most Belgians have never heard of him, but he's a genius! Youtube him, you'll find some amazing works. All religious music, though.
  6. kvitske

    Via Crucis

    Hi! I'm thinking of doing some sort of Via Crucis with one of my choirs next year, but I would like to not use a Via Crucis as one composition (like the one by F. Liszt), but I'd rather use individual (classical) music pieces with each station of the cross. I'm just starting to gather some ideas, but I could use any help anyone can offer. So far, I've found two pieces: -Stabat Mater (Joseph Gabriel Rheinberger) -Eli eli (György Deak Bardos) All suggestions are welcome!! Thank you very much in advance!
  7. Of course you can improve your voice! With the training comes the proper use of your voice and everything related to it (which is actually your whole body) for singing! I used to have a terrible voice, but after singing classes I improved a lot, up to the point where people actually think I've got a very good voice and I sing very well.
  8. Thanks. I hope you enjoyed it. I'm only trying to get people to know him. There's not much I can do, but as a choral conducting student, I hope I get the chance to perform his works later in my life. :-)
  9. In general, I'm not very proud to be Belgian. I mean, what is there to be proud of? We eat waffles every day, we drink lots of beer and we have Manneken Pis... But there is one thing I'm really, really proud of, and that's our composer Jules Van Nuffel. Too bad most Belgians don't know him... <_< Jules Van Nuffel was born in 1883 in a little village called Hemiksem, somewhere near Antwerp. As a boy, he went to the Minor Seminary of Mechelen. There he received his first piano lessons. Later, he went to the seminary to become he priest. There he conducted the seminary choir and he played the organ. He also started composing. Even though he asked Belgian composer Edgar Tinel for advice from time to time, he is mostly an autodidact, he learned composing on his own. Van Nuffel conducted the choir in St. Rumbold's Cathedral in Mechelen, following pope Pius X's motu proprio Tra le sollecitudini. This meant singing old polyphony and gregorian chant, only organ (no pianos or other instruments) and very importantly: no mixed choirs in churches! Van Nuffel was lucky to have a boy school in Mechelen, and he was able to conduct a large mixed choir using only boys and men. He also wrote most of his music for this choir (and the famous Flor Peeters at the organ). In 1916, he performed his psalm Super flumina Babylonis. It was such a big success, that Mgr. Mercier, the cardinal, asked him to form a permanent St. Rumbold's Choir. Van Nuffel continued to conduct this choir, both in Belgium as in the rest of Europe, until 1949, when he was too sic to conduct. From 1918 until 1953 Van Nuffel directed the Lemmens Institute of Leuven (then it was still based in Mechelen). One of his biggest achievements was the creation of the Nova Organi Harmonia, eight books of gregorian accompaniments. For his choir, he wrote many compositions, including 8 psalms. They are written for choir (4 to 8 mixed voices), all but one with organ accompaniment. Some of those psalms have been arranged for choir with orchestra. It is one of those psalms that I would like to show you: Psalm 125 'In Convertendo Dominus'. It really is a shame this composer isn't more known in the world. Even in Belgium, most of his works have never been performed after his death. Of course, that has to do with Belgium being a very small country and not having the big choirs required for the works of Van Nuffel (after all, his last Te Deum, for choir, organ, trumpet, horn and trombone, was performed with a choir of around 300 voices...). But, with our school (the Lemmens Institute), we performed a couple of his works a couple of years ago. It was broadcasted on the national television and has found its way to YouTube: (please remember this is not a professional choir, but I think we did fine :happy: ) A truly beautiful piece for five voices (Sopranos, Altos, Tenors, Baritones, Basses). It also exists in a version for four voices (which I think is the original version). A simpler piece, almost completely homophonic, but still very beautiful. Tria Cantica Eucharista consists of three pieces, one with organ accompaniment: Written for Cardinal Mercier's birthday, I believe. One of the eight psalms, one of my favorite as well. It is so full of energy, absolutely amazing! So, I hope you enjoyed listening to the works of this Belgian genius? Van Nuffel died in 1953, way too soon, and after his passing, his big St. Rumbold's Choir slowly died too...
  10. Hi! I'm looking for a piece for organ to play at my grandmother's funeral. The problem is I didn't know I was going to play so I did not have time to look for the sheet music. I do have an idea what I would like to play, I'd like something like the mp3 here (of which I don't have the sheet music, sadly). It doesn't have to be exactly this, but preferably something like it. And it would be nice if the sheet music is available on internet to print (free or not). Any suggestions would be greatly appreciated. Thank you very much!!
  11. Sorry for bumping back this old thread, but I, too, am interested in this briliant piece. I downloaded the last Finale file in Finale Reader and continued in Sibelius (I don't have Finale) and I tried to continue a bit of the work. This is what I have now: PDF: Dudley Moore.pdf - File Shared from Box.net - Free Online File Storage Sibelius File: Dudley Moore.sib - File Shared from Box.net - Free Online File Storage
  12. It depends. Usually I begin with a the start of the melody, then write the harmony for that part and continuing the harmony a bit further and then completing the melody...
  13. I lack one important thing: patience. It's very difficult for me to spend a lot of time on one piece. The result is that I kinda rush things and I think I'd do better if I thought a bit longer about it, if I searched for the right notes and stuff a bit longer...
  14. Brahms!!! Definately Brahms! There are billions of composers I haven't heard yet, but Brahms is the only one that makes me fall asleep. If I were a Furby, I'd say: "Booooring!". I'm not a Furby but I still say "Booooring!" to Brahms...
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