Jules Van Nuffel

Jules Van Nuffel (21 March 1883 – 25 June 1953) was a Belgian priest, musicologist, composer, and a renowned expert on religious music.

Biography

Born on 21 March 1883 in Hemiksem, Belgium, Van Nuffel studied at the Grand Seminary of Mechelen for the priesthood, in addition to piano, violin, organ, harmony and counterpoint. He was ordained priest by Cardinal Mercier on 25 May 1907.[1][2] As a cantor at Mechelen Cathedral, he founded the cathedral choir, and directed it until 1949. In this connection, he collaborated with the organist at the cathedral, the renowned Flor Peeters. Also, from 1918 until his death (in Wilrijk, Belgium), on 25 June 1953, Van Nuffel directed the Lemmens Institute in Leuven.[3]

Composer

A nationally prominent composer of liturgical works (though little known outside his native land),[4] Van Nuffel numbered among his favorite composers Bach, Wagner and Debussy. The numbering of the psalms, which he composed for the liturgy, follows the Latin Psalter.

One of his crowning achievements was the creation of the Nova Organi Harmonia. This was an eight-volume collection of Gregorian accompaniments, composed by Van Nuffel himself, along with Peeters, Jules Vyverman, Marinus de Jong, and other professors at the Lemmens Institute. The Nova Organi Harmonia was reprinted in many editions after World War II.

Selected works
  • Christus vincit, for four-part male voice choir
  • Ave Maria, for four-part choir
  • Missa Paschalis ad 2 voces æquales, for soprano/alto or tenor/baritone and organ (n.d.)
  • Super flumina Babylonis (Psalm 136), op. 25 (1916), for four-to-six-part choir and organ (or orchestra)
  • Missa in honorem S.S. Cordis Jesu, op. 28, for four-to-six-part choir and organ
  • Statuit ei Dominus, op. 30 (1924), for four-to-six-part choir and organ (or orchestra)
  • In convertendo Dominus (Psalm 125), op. 32 (1926), for four-to-seven-part choir and organ
  • Ecce sacerdos magnus, op. 34 (1926), for six-part choir and organ
  • Josephsmesse, for three-part female choir
  • Domine, ne in furore tuo arguas me (Psalm 6), op. 44 (1935)
  • Laetatus sum (Psalm 121), op. 45 (1935), for four-part choir
  • Voce mea ad Dominum clamavi (Psalm 141), op. 47 (1935) for eight-part choir
  • Dominus regnavit (Psalm 92), op. 49 (1935) for four-to-six-part choir and organ
  • Ad te Dominum cum tribularer clamavi (Psalm 119), op. 50 (1936)
  • Ad te levavi oculos meus (Psalm 122), op. 51 (1935)
  • Te Deum, op. 62 (1944) for choir, brass ensemble and organ
gollark: I don't know if it's useful to write to multiple registers at once, but it's cool.
gollark: Cool idea.
gollark: Ah yes, Kolmogorov complexity.
gollark: Also, human brains have weird color processing quirks because instead of answering the question "what mixture of light is entering this part of the visual field" they're solving the harder but more useful one of what color an object is and what light sources are present and that sort of thing.
gollark: The color of the thing as seen by a camera (or your eyes) depends on lighting conditions and what's near it and configuration and such.

References
  1. Van Espen 2006, p. 30.
  2. "Biografie - Jules Van Nuffel". julesvannuffel.be. Archived from the original on 1 January 2015. Retrieved 1 January 2015.
  3. Van Espen 2006, p. 86.
  4. Fellerer 1961, p. 261.

Sources


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