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Views from the Choir Loft

“Like None Other!” • New Three-Voice Collection

Jeff Ostrowski · March 8, 2022

ERIOUS MUSICIANS must realize what they can and cannot do. For example, studying piano at the conservatory, I already knew I could never play Franz Liszt’s Feux Follets. It has impossible passages that must be played at a breakneck tempo. Even Vladimir Horowitz said Feux Follets was the most difficult piece he ever played. (To get some idea of how grueling it is, listen to the YouTube recording by Evgeny Kissin.) I realize some students attempt pieces far beyond their abilities—e.g. teenagers “performing” Chopin’s 4th Ballade—but such actions defile great artistic works … at least according to my professors.

Three-Voice Music • As a student, if I heard a 3-voice motet by Kevin Allen, I would probably think: “I could compose a piece like that.” And I would have been dead wrong. Three voice music is much more difficult to compose than SATB music. Indeed, only a mature musician can appreciate the marvelous feat Mr. Allen has accomplished with these pieces. And choirs really love singing these pieces, with their sumptuous contemporary dissonances. If you have not purchased this new collection from Amazon, consider doing so immediately. It’s called “Matri Divinaæ Gratiæ”—and I could not function as a choirmaster without it.

“Si Ambulavero” • My choirs are currently learning “Si Ambulávero” by Kevin Allen. I recorded all the voice parts myself, to give them an idea how it sounds. Listen to the rich texture Mr. Allen achieves with only three voices:

REHEARSAL VIDEOS for each individual voice and the (free) PDF score await you at this website, towards the bottom.

A Tragedy: Most readers won’t click on the individual voice parts, and that makes me sad. When we post a “scandalous” liturgical video, we get 40,000 views. I wish we could get as many views for the rehearsal videos.


NOTES FROM THIS ARTICLE:

*   I call this collection “new” because it’s new to me. I technically knew about it for half a decade, but until we actually began singing these pieces, I never realized they are such absolute masterpieces.

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles, Featured Tagged With: Composer Kevin Allen, Matri Divinae Gratiae, Motets for Three-Part Choir, Music for Three Parts, Polyphony For Three Voices, Three Voice Music Last Updated: March 8, 2022

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About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    14th Sunday in Ordinary Time (Year C)
    Our choir is on break during the month of July. However, on the feasts website, the chants have been posted for the 14th Sunday in Ordinary Time (Year C), which is this coming Sunday: 6 July 2025.
    —Jeff Ostrowski
    Bugnini’s Statement (6 November 1966)
    With each passing day, more is revealed about how the enemies of the liturgy accomplished their goals. For instance, Hannibal Bugnini deeply resented the way Vatican II said Gregorian Chant “must be given first place in liturgical services.” On 6 November 1966, his cadre wrote a letter attempting to justify the elimination of Gregorian Chant with this brazen statement: “What really gives a Mass its tone is not so much the songs as it is the prayers and readings.” Bugnini’s cadre then attacked the very heart of Gregorian Chant (viz. the Proprium Missae), bemoaning how the Proprium Missae “is completely new each Sunday and feast day.” There is much more to be said about this topic. Stay tuned.
    —Jeff Ostrowski
    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

“Worse, composers are now setting the introits of the missal [instead of the Graduale] to music, even to chant, though these texts were explicitly for spoken recitation only.”

— ‘Dr. William Mahrt (Fall, 2015)’

Recent Posts

  • 14th Sunday in Ordinary Time (Year C)
  • “My First Year with the Latin Mass” • A Music Director’s Perspective
  • Boston Auxiliary Bishop: “In offering the Traditional Mass for the first time, after removing the vestments, I knelt in the back pew and wept.”
  • Now Available! • “Hymns of Cardinal Newman: Kevin Allen’s Legendary Choral Settings”
  • Bugnini’s Statement (6 November 1966)

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