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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

Revealed! • Kevin Allen’s Setting of the “Confíteor Deo Omnipoténti” (SATB) for Compline

Andrea Leal · May 16, 2023

EVIN ALLEN. So many musicians would not be able to run their choral programs without his compositions. During last year’s Sacred Music Symposium, our organization was chosen to premiere his new collection for three voices: Stowe Missal Eucharistic Motets. Many consider his Motecta Trium Vocum to be peerless in the genre of equal voice choral music (“AD AEQUALES”). His Matri Divinæ Gratiæ—a collection for Soprano, Alto, and Bass—is essential for any choirmaster who directs volunteers. At Symposium 2023, we will be singing from Maestro Allen’s Cantiones Sacrae Simplices, a collection often selected by the Sistine Chapel Choir (Vatican City).

“Confíteor Déo Omnipoténti” • At this year’s Symposium, we will sing COMPLINE each night. That’s a change. At all previous symposia, we have sung VESPERS. Normally at Compline, the Confíteor is sung on a single note. Frankly, that method usually sounds poor. Our organization, therefore, commissioned from Kevin Allen a special setting of the Confíteor which will be sung each night during COMPLINE. I find this melody hauntingly gorgeous. See if you agree:

 Rehearsal videos for each individual voice await you at #40505.

Clarification • Readers of our blog recently took part in a survey. We received many excellent answers, for which we are grateful. However, I have been asked to make a clarification. The people who took the survey were supposed to search the Brébeuf Portal for the hymn tune “MELCOMBE.” Then they were asked to comment about the strategy of shared melodies. Several people gave answers we did not expect. They said: “Using all the shared melodies each week will lead to boredom on the part of the congregation.” However, that answer misses the point completely. Nobody is saying that 100% of the “shared melody” hymns must be used. The idea is, they are available when you need them! For instance, the feast of the ASCENSION is coming up in a few days. If your choir already knows a “shared melody” in SATB, the Brébeuf hymnal gives you options! Or, consider the choirmaster who plays more than five Masses each weekend. Not all the Masses will have a choir, so these “shared melodies” will be invaluable for some (not all) of the Masses.

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

Filed Under: Articles, Featured, PDF Download Tagged With: Composer Kevin Allen, Confiteor Deo Omnipotenti, Musical Setting CONFITEOR Last Updated: May 16, 2023

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About Andrea Leal

Andrea Leal is a wife and homeschooling mother of 6 children. She serves as choir director for the Traditional Latin Mass in Las Vegas.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Music List • (1st Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I’ve prepared for this coming Sunday—22 February 2026—the 1st Sunday of Lent (Year A). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are available at the outstanding feasts website alongside the official texts in Latin. I spent an enormous amount of time preparing this ORDER OF MUSIC—because the children’s choir will join us—and some of its components came out great. For example, the COMMUNION ANTIPHON with Fauxbourdon is utterly resplendent, yet still ‘Lenten’.
    —Jeff Ostrowski
    2-Voice Arrangement for Lent
    Those seeking a two-voice arrangement for LENT and PASSIONTIDE should click here and scroll down. It’s based on number 775 in the Brébeuf Hymnal, with an enchanting melody written by Kevin Allen (the legendary American composer of sacred music). That text—“Pendens In Crucis Cornibus”—is often used for the Feast of our Lady of Sorrows. That link is important because, in addition to the musical score, it provides free rehearsal videos for each individual voice: something volunteer choirs appreciate!
    —Jeff Ostrowski
    “Sanctus VIII” • Organ Accompaniment
    A few days ago, I composed this organ harmonization for SANCTUS VIII. This Mass is traditionally called Missa de ángelis or “Mass of the angels.” In French, it is Messe de Anges. You can evaluate my attempt to simultaneously accompany myself on the pipe organ (click here) while singing the melody. My parish is currently singing this setting.
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of Febr. (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

Random Quote

Friedman met Egon Wellesz in Altaussee on one of the walks, and Egon started to speak about atonal music—and Ignaz replied: “No, no, no. Melody for me.”

— From the Life of Ignazy Friedman

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