Mark Keane
The Oxford Book of Upper-Voice Polyphony
A collection of sixteenth-century motets in 2 to 6 parts
The Oxford Book of Upper-Voice Polyphony is a collection of carefully curated and edited Renaissance works. Scholarly yet practical, this volume is an invaluable addition to the library of any choir l...
The Oxford Book of Upper-Voice Polyphony is a collection of carefully curated and edited Renaissance works. Scholarly yet practical, this volume is an invaluable addition to the library of any choir l...
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The text of this motet is taken from the Palm Sunday antiphon, which celebrates the entry of Jesus into Jerusalem. The repeated 'hosanna' phrases at the end of the motet bear witness to Palestrina's m...
The text of this motet is taken from the Palm Sunday antiphon, which celebrates the entry of Jesus into Jerusalem. The repeated 'hosanna' phrases at the end of the motet bear witness to Palestrina's m...
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The vocal ranges of the Marian motet Ave Maria are best suited to two sopranos, due to the frequent crossing of the two upper parts, and an alto. The composer's notation has been transposed up a fourt...
The vocal ranges of the Marian motet Ave Maria are best suited to two sopranos, due to the frequent crossing of the two upper parts, and an alto. The composer's notation has been transposed up a fourt...
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The compositional style of this motet demonstrates word-painting and madrigal-like features. It opens with a duet that may reflect the word 'Duo' in the title, and the use of three voices at the start...
The compositional style of this motet demonstrates word-painting and madrigal-like features. It opens with a duet that may reflect the word 'Duo' in the title, and the use of three voices at the start...
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This three-part hymn of thanksgiving is predominantly homophonic and more reminiscent of Lassus's madrigal style. The use of short note values and syncopation brings life and energy to the piece befor...
This three-part hymn of thanksgiving is predominantly homophonic and more reminiscent of Lassus's madrigal style. The use of short note values and syncopation brings life and energy to the piece befor...
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O fear the Lord sets two verses from Psalm 34. A controlled organum-style opening gives way to a more fervent, harmonic middle section. An approachable and beautiful piece.
O fear the Lord sets two verses from Psalm 34. A controlled organum-style opening gives way to a more fervent, harmonic middle section. An approachable and beautiful piece.
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This a cappella anthem, suitable as an introit or call to worship, was inspired by Celtic folksong and is available here in German translation.
This a cappella anthem, suitable as an introit or call to worship, was inspired by Celtic folksong and is available here in German translation.
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Setting inspiring words by James Weldon Johnson, My heart be brave is an ideal choice for choirs looking to address issues of social justice in their programming. Also available in mixed- and lower-vo...
Setting inspiring words by James Weldon Johnson, My heart be brave is an ideal choice for choirs looking to address issues of social justice in their programming. Also available in mixed- and lower-vo...
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This is a substantial setting of the canticles of Mary and Simeon, suitable for both concert and liturgical settings The choral writing features fugal counterpoint and a chromatic soundworld rooted ar...
This is a substantial setting of the canticles of Mary and Simeon, suitable for both concert and liturgical settings The choral writing features fugal counterpoint and a chromatic soundworld rooted ar...
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