“Cantiones Sacrae Simplices” (Kevin Allen)

“Cantiones Sacrae Simplices” (Kevin Allen)

ANTIONES SACRAE SIMPLICES is an 80-page collection of simple SATB Motets by composer Kevin Allen, with (optional) psalm verses in Latin and English. The texts are appropriate throughout the entire Liturgical year. Feel free to download a PDF file with the entire collection, listen to an audio sample, or read the beautiful foreword by Dr. William Peter Mahrt of Stanford. Please share this special promotional video with your friends!

* Purchase this book! • CANTIONES SACRAE SIMPLICES
—Eligible for “Amazon Prime” • All proceeds (100%) go directly to the composer.

Practice Videos :

1. Dóminus Dabit Benignitátem: • Balanced Voices Practice Video

Soprano Predominant • Soprano Muted • Soprano Part Left Channel

Alto Predominant • Alto Muted • Alto Part Left Channel

Tenor Predominant • Tenor Muted • Tenor Part Left Channel

Bass Predominant • Bass Muted • Bass Part Left Channel

2. Meditábor in Mandátis Tuis: • Balanced Voices Practice Video

Soprano Predominant   •   Soprano Muted   •   Soprano Part Left Channel

Alto Predominant   •   Alto Muted   •   Alto Part Left Channel

Tenor Predominant   •   Tenor Muted   •   Tenor Part Left Channel

Bass Predominant   •   Bass Muted   •   Bass Part Left Channel

3. Justítiae Dómini Rectae: • Balanced Voices Practice Video

Soprano Predominant   •   Soprano Muted   •   Soprano Part Left Channel

Alto Predominant   •   Alto Muted   •   Alto Part Left Channel

Tenor Predominant   •   Tenor Muted   •   Tenor Part Left Channel

Bass Predominant   •   Bass Muted   •   Bass Part Left Channel

4. Bonum Est Confitéri: • Balanced Voices Practice Video

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5. Dómine Convértere: • Balanced Voices Practice Video

Soprano Predominant   •   Soprano Muted   •   Soprano Part Left Channel

Alto Predominant   •   Alto Muted   •   Alto Part Left Channel

Tenor Predominant   •   Tenor Muted   •   Tenor Part Left Channel

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Sung at the Vatican by the Sistine Chapel choir:

6. Ego Clamávi: • Balanced Voices Practice Video

Soprano Predominant   •   Soprano Muted   •   Soprano Part Left Channel

Alto Predominant   •   Alto Muted   •   Alto Part Left Channel

Tenor Predominant   •   Tenor Muted   •   Tenor Part Left Channel

Bass Predominant   •   Bass Muted   •   Bass Part Left Channel

7. Illúmina Fáciem Tuam: • Balanced Voices Practice Video

Soprano Predominant   •   Soprano Muted   •   Soprano Part Left Channel

Alto Predominant   •   Alto Muted   •   Alto Part Left Channel

Tenor Predominant   •   Tenor Muted   •   Tenor Part Left Channel

Bass Predominant   •   Bass Muted   •   Bass Part Left Channel

8. Unam Pétii A Dómino: • Balanced Voices Practice Video

Soprano Predominant   •   Soprano Muted   •   Soprano Part Left Channel

Alto Predominant   •   Alto Muted   •   Alto Part Left Channel

Tenor Predominant   •   Tenor Muted   •   Tenor Part Left Channel

Bass Predominant   •   Bass Muted   •   Bass Part Left Channel

9. Circuíbo Et Immolábo: • Balanced Voices Practice Video

Soprano Predominant   •   Soprano Muted   •   Soprano Part Left Channel

Alto Predominant   •   Alto Muted   •   Alto Part Left Channel

Tenor Predominant   •   Tenor Muted   •   Tenor Part Left Channel

Bass Predominant   •   Bass Muted   •   Bass Part Left Channel

10. Panem de Caelo: • Balanced Voices Practice Video

Alto Predominant   •   Alto Muted   •   Alto Part Left Channel

Soprano Predominant   •   Soprano Muted   •   Soprano Part Left Channel

Tenor Predominant   •   Tenor Muted   •   Tenor Part Left Channel

Bass Predominant   •   Bass Muted   •   Bass Part Left Channel

11. Panis Quem Ego Dédero: • Balanced Voices Practice Video

Soprano Predominant   •   Soprano Muted   •   Soprano Part Left Channel

Alto Predominant   •   Alto Muted   •   Alto Part Left Channel

Tenor Predominant   •   Tenor Muted   •   Tenor Part Left Channel

Bass Predominant   •   Bass Muted   •   Bass Part Left Channel

12. Dómine Memorábor: • Balanced Voices Practice Video

Soprano Predominant   •   Soprano Muted   •   Soprano Part Left Channel

Alto Predominant   •   Alto Muted   •   Alto Part Left Channel

Tenor Predominant   •   Tenor Muted   •   Tenor Part Left Channel

Bass Predominant   •   Bass Muted   •   Bass Part Left Channel

“Offertory” at Catholic Funerals

I have argued that the OFFERTORY—at least in its ancient form—is more of a responsory than an antiphon. The 1962 Missal specifically calls it “Antiphona ad Offertorium.” From now on, I plan to use this beautiful setting (PDF) at funerals, since it cleverly inserts themes from the absolution of the body. Tons more research needs to be done on the OFFERTORY, which often is a ‘patchwork’ stitching together various beginnings and endings of biblical verses. For instance, if you examine the ancient verses for Dómine, vivífica me (30th Sunday in Ordinary Time) you’ll discover this being done in a most perplexing way. Rebecca Maloy published a very expensive book on the OFFERTORY, but it was a disappointment. Indeed, I can’t think of a single valuable insight contained in her book. What a missed opportunity!

—Jeff Ostrowski

“In Paradisum” • Gregorian Chant

As a RECESSIONAL on All Souls’ Day (November 2nd), we will sing In Paradísum Dedúcant Te Ángeli (PDF). When it comes to Gregorian Chant, this is one of the most popular “songs.” Frankly, all the prayers and chants from the traditional REQUIEM MASS (Missa exsequialis or Missa pro defunctis) are incredibly powerful and never should’ve been scuttled. Click here to hear “In Paradisum” in a recording I made this afternoon. Professor Louis Bouyer spoke of the way Bugnini “scuttled the office of the dead” in this fascinating excerpt from his memoirs. In his book, La riforma litugica (1983), Bugnini bragged—in quite a shameful way—about eliminating the ancient funeral texts, and even admitted those venerable texts were “beloved” (his word) by Catholics.

—Jeff Ostrowski

“Music List” • All Souls (2 November)

Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 2 November 2025, which is the Commemoration of All the Faithful Departed (“All Souls”). 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 conveniently stored at the top-notch feasts website alongside the official texts in Latin. In my humble opinion, it’s weird to have the feast of All Saints on a Sunday. No wonder the close associate of Pope Saint Paul VI said the revised KALENDAR was “the handiwork of a trio of maniacs.” However, I can’t deny that sometimes the sacred liturgy consists of elements that are seemingly contradictory: e.g. the Mode 7 “De Profúndis” ALLELUIA, or the Mode 8 “Dulce lignum” ALLELUIA on the various ancient feasts of the Holy Cross (3 May, 14 September, and so on).

—Jeff Ostrowski

Gospel Options for 2 November (“All Souls”)

We’ve been told some bishops are suppressing the TLM because of “unity.” But is unity truly found in the MISSALE RECENS? For instance, on All Souls (2 November), any of these Gospel readings may be chosen, for any reason (or for no reason at all). The same is true of the Propria Missæ and other readings—there are countless options in the ORDINARY FORM. In other words, no matter which OF parish you attend on 2 November, you’ll almost certainly hear different propers and readings, to say nothing of different ‘styles’ of music. Where is the “unity” in all this? Indeed, the Second Vatican Council solemnly declared: “Even in the liturgy, the Church has no wish to impose a rigid uniformity in matters which do not implicate the faith or the good of the whole community.”

—Corpus Christi Watershed

“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