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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

Bring Your “Lost Motets” to Life

Keven Smith · May 4, 2020

OST of us church choir directors across the U.S. are experiencing a severe disruption to our normal liturgical lives. Some of us at least have the privilege of singing for live-streamed Masses with scaled-down choral forces. Others are waiting on the sidelines—and I can only imagine how difficult that must be for you.

In either case, there’s much we can do to build up the liturgical lives of our parishes even after having our wings clipped. Here’s just one idea: take this time to educate your parish on what your choir was working on before you had to suspend rehearsals.

Think about it: you were probably preparing full steam for Holy Week and Easter when you got the word in mid-March to stop indefinitely. Some of that music may have been ready for Mass, while other pieces needed more polish. But you and your singers put a lot of work into all of it.

So, why not let your parishioners know a little bit about these pieces? Describe what you love about this music and why you selected it. Tell them briefly about the composers. Share an anecdote or two about the musical challenges your choir overcame in rehearsals. Express your optimism that you’ll have a chance to sing these pieces at a future Mass.

I’ve begun doing exactly this in a series on my own blog that I’m calling “The Lost Motets.” Depending on your situation, you might prefer to send a message to your parish email loop, post an article on your parish website, or even create a YouTube video. Consider including some audio, whether it’s an actual recording of your choir or a YouTube recording of another choir.

I can think of several potential benefits here:

  1. You’ll send the message to your parish that your choir works hard to make all those beautiful Masses possible.
  2. You’ll increase appreciation of the music you sing at Mass. It’s not just pretty background noise for prayer—it’s sacred!
  3. You’ll capture the attention of potential choir members—perhaps even from other parishes. Surely there’s someone in your pews who has always meant to ask about joining your choir but just hasn’t gotten around to calling you.
  4. You’ll give parishioners a chance to get to know you better through your writing, even if they’ve never spoken with you in person.
  5. You’ll be striking yet another blow against the comfortable mediocrity that has plagued liturgical music for decades.

You don’t have to do much to do a little good. Let your natural passion for your work shine through, and encourage people to listen to a recording so that the music can speak for itself. And then keep praying.

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

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Filed Under: Articles Tagged With: choir director Last Updated: May 4, 2020

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About Keven Smith

Keven Smith, music director at St. Stephen the First Martyr, lives in Sacramento with his wife and five musical children.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    PDF Download • “Offertory” for this Sunday
    This coming Sunday, 12 October 2025, is the 28th Sunday in Ordinary Time (Year C). Its OFFERTORY ANTIPHON (PDF) is gorgeous, and comes from the book of Esther, as did the ENTRANCE CHANT last Sunday. Depending on a variety of factors, various hand-missals (all with Imprimatur) translate this passage differently. For instance, “príncipis” can be rendered: King; Prince; Lion; or Fierce lord. None is “more correct” than another. It depends on what each translator wants to emphasize and which source text is chosen. All these pieces of plainsong are conveniently stored at the blue-ribbon feasts website.
    —Jeff Ostrowski
    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 example) 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
    “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

Quick Thoughts

    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
    “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

Random Quote

What earlier generations held as sacred, remains sacred and great for us too, and it cannot be all of a sudden entirely forbidden or even considered harmful.

— ‘His Holiness, Pope Benedict XVI (7 July 2007)’

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