Missa Rex Genitor • Mass for Three Equal Voices

Missa Rex Genitor • Mass for Three Equal Voices

ISSA REX GENITOR is a polyphonic Mass Setting for three equal voices by composer Kevin Allen. You can view a live recording here.

Click here to purchase this musical score. ($18.00)

NOTE: Price is just $10.00 per book for those ordering ten copies or more! Scroll to the bottom of the page to learn how.

KYRIE ELEISON • Video (equal voices)

PRACTICE VIDEO (Tenor I Predominant)

PRACTICE VIDEO (Tenor I Muted)

PRACTICE VIDEO (Tenor II Predominant)

PRACTICE VIDEO (Tenor II Muted)

PRACTICE VIDEO (Bass Predominant)

PRACTICE VIDEO (Bass Muted)

GLORIA IN EXCELSIS DEO • Video (equal voices)

PRACTICE VIDEO (Tenor I Predominant)

PRACTICE VIDEO (Tenor I Muted)

PRACTICE VIDEO (Tenor II Predominant)

PRACTICE VIDEO (Bass Predominant)

PRACTICE VIDEO (Bass Muted)

CREDO IN UNUM DEUM • Video (equal voices)

PRACTICE VIDEO (Tenor I Predominant)

PRACTICE VIDEO (Tenor I Muted)

PRACTICE VIDEO (Tenor II Predominant)

PRACTICE VIDEO (Tenor II Muted)

PRACTICE VIDEO (Bass Predominant)

PRACTICE VIDEO (Bass Muted)

SANCTUS, SANCTUS, SANCTUS • Video (equal voices)

PRACTICE VIDEO (Tenor I Predominant)

PRACTICE VIDEO (Tenor I Muted)

PRACTICE VIDEO (Tenor II Predominant)

PRACTICE VIDEO (Tenor II Muted)

PRACTICE VIDEO (Bass Predominant)

PRACTICE VIDEO (Bass Muted)

AGNUS DEI • Video (equal voices)

PRACTICE VIDEO (Tenor I Predominant)

PRACTICE VIDEO (Tenor I Muted)

PRACTICE VIDEO (Tenor II Predominant)

PRACTICE VIDEO (Tenor II Muted)

PRACTICE VIDEO (Bass Predominant)

PRACTICE VIDEO (Bass Muted)

BULK PRICING:

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2-Voice Arr. • “Creator of the Starry Height”

Do you direct a choir consisting of women or children only? (Some call this a “treble” choir.) Download a two-voice arrangement of Creator of the Starry Height set to the tune of IOANNES by clicking here and then scrolling to the bottom. In our times, this hymn is normally used during ADVENT, and the Latin title is: Cónditor alme síderum. It’s important to say “cónditor”—placing the accent on the antepenult—because ‘condítor’ in Latin means “one who embalms the dead.”

—Jeff Ostrowski

“Equal Voices” Choir Pieces

My colleague, CORRINNE MAY, has posted some delightful compositions for equal voices: that is, choirs consisting of all men or all women. Included there are settings of the “Ave Maria” and “Tantum Ergo.” They strike me as relatively simple and not excessively lengthy. (In other words, within reach of volunteer singers.) Even better, all the scores have been made available as instant PDF downloads, completely free of charge. Bravo!

—Jeff Ostrowski

Typo in the “Missale Romanum” (1962)

The 1962 MISSALE ROMANUM was a transitional missal. It was on its way to becoming the 1970 version, but wasn’t there yet. It eliminated certain duplications, downplayed the Prayers at the Foot of the Altar, expanded the role of laymen, minimized the Last Gospel, made many items optional, and so forth. Father Valentine Young spotted many typos in the 1962 MISSALE ROMANUM, especially incorrect accents. The Offertory Antiphon for this coming Sunday (OF kalendar) contains an error, citing the wrong verse from Psalm 118. It should be 118:107b, not 118:154. If you read verse 154, you’ll understand how that error crept in. [In this particular case, the error pre-dates the 1962 Missal, since the 1940s hand-missal by Father Lasance also gets it wrong.]

—Jeff Ostrowski

“Our Father” • Musical Setting?

Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?

—Jeff Ostrowski

New Bulletin Article • “12 October 2025”

My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.

—Jeff Ostrowski

“American Catholic Hymnal” (1991)

The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).

—Jeff Ostrowski

“I vividly remember going to church with him in Bournemouth. He was a devout Roman Catholic and it was soon after the Church had changed the liturgy (from Latin to English). My grandfather obviously didn’t agree with this and made all the responses very loudly in Latin while the rest of the congregation answered in English. I found the whole experience quite excruciating, but my grandfather was oblivious. He simply had to do what he believed to be right.”

— Simon Tolkien (2003)