“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

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

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

Bass Predominant   •   Bass Muted   •   Bass Part Left Channel

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

Why A “Fugue” Here?

I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!

—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

“Reminder” — Month of October (2025)

Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.

—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

“Canonic” • Ralph Vaughan Williams

Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.

—Jeff Ostrowski

Did they simplify these hymn harmonies?

Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.

—Jeff Ostrowski