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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

Hidden Gem: Alma Redemptoris Mater (Salazar)

Keven Smith · December 21, 2020

’M SURE I’M NOT THE ONLY church choir director who prefers to select reusable repertoire. If you’re blessed with a choir full of expert sight-singers, you can learn new motets at will—perhaps even in a single midweek rehearsal. For most of us, though, it’s necessary to select motets weeks ahead of time, plan rehearsal time carefully, and juggle priorities constantly. After putting in hours of work on a motet, you hate to sing it once and then shelve it until next year. So I like to look for motets that could work well on multiple Sundays or feasts.

Now, the blessed, beautiful season of Advent presents a unique challenge. On the one hand, it consists of only four Sundays, making it difficult to justify spending many hours on repertoire. On the other hand, what a shame it would be to use only general-purpose motets during Advent, turning it into a “fly-over” season while focusing all of our energies on preparing music for Christmas.

One potential solution, of course, is to sing lots of Ave Marias during Advent. Most choirs know at least one, and there are some very accessible settings out there. The advantage of Ave Maria is that it’s general enough to program at pretty much any time of year. This, of course, is also the drawback of Ave Maria; if your congregation has heard you sing a particular setting several times throughout the year, it won’t seem as if the season has changed when they hear you sing it on the first Sunday of Advent.

An Understated SATB Motet from a Spanish Baroque Composer

I propose a better solution: Alma Redemptoris Mater. As you probably know, it’s the Marian antiphon proper to the entire Christmas cycle. This means it’s in season from the first Sunday of Advent through the Feast of the Purification on February 2. Learn it for Advent, and you’ll actually get about two months’ use out of it.

[In case you missed it, Jeff Ostrowski recently provided 13 organ accompaniments to the plainchant Alma Redemptoris Mater.]

If you know of only one polyphonic setting of Alma Redemptoris Mater, it’s probably the Palestrina:

The Palestrina is fairly accessible, but every choir is at a different level. If you’re looking for another option, consider the setting by the Spanish baroque composer Juan Garcia de Salazar (1639-1710):

*  PDF Download • Public Domain File

Salazar’s understated, introspective motet has been a mainstay of my choir’s repertoire for several years. It’s simple enough that your choir could still learn it for the remainder of the Christmas cycle.

I’ve found only one YouTube recording of this piece, which confirms that it is a hidden gem. This very polished performance incorporates harp, but you don’t have to:

Insider Tips on Alma Redemptoris Mater

What I love about this piece:

  • It can sit comfortably at a range of tempos. The PDF I provided above puts it in cut time, but we sing it in a moderate four—much like the choir on the YouTube recording.
  • It rises and falls gently, coming to a gradual climax at “peccatorum.”
  • The tenor ends on a 4-3 suspension with Picardy third. I sing tenor as I conduct. It’s like my birthday every time I program this motet.
  • It seems more beautiful every time we sing it. It’s not the sort of motet that grabs you on first listening. But did Our Lady ever call undue attention to herself? And who could ever get bored with her?

What to look out for:

  • The alto line dips low. If your choir, like mine, has an alto section composed mainly of sopranos and mezzo-sopranos who have volunteered to help out on harmony, you’ll want to spend a little time working on the timbre and projection of the lowest notes.
  • The alto and bass lines are jumpy. If you don’t have strong readers in these sections, you’ll need to do some solfege work.
  • Several phrases end on group whole notes. You know what I’m going to say next: it’s a challenge to strike a balance between A) giving up on those notes early, and B) dutifully holding “dead” notes for the full four beats. As we all know, it’s not necessary to be mathematical here; I have my choir treat these notes as fermatas. I ask them to maintain good eye contact and listen carefully to the voices around them as they let the sound decay naturally.

Enjoy! I’ve spent an alarming amount of time on Choral Public Domain Library and look forward to sharing more hidden gems in future articles.

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

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Filed Under: Articles Tagged With: Advent, Alma Redemptoris Mater, motets, polyphony Last Updated: December 22, 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

    New Bulletin Article • “14 September 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 14 September 2025) discusses OFFERTORY ANTIPHONS and contains a wonderful quote by Archbishop Fulton J. Sheen.
    —Jeff Ostrowski
    PDF Download • Draft Copy (Pamphlet)
    A few days ago, I posted a draft copy of this 12-page pamphlet with citations about the laity’s “full, conscious, and active participation.” Its basic point or message is that choir directors should never feel embarrassed to teach real choral music because Vatican II explicitly ordered them to do that! We’ve received tons of mail regarding that pamphlet, with many excellent suggestions for improvement. Please feel free to chime in!
    —Jeff Ostrowski
    “Entrance Chant” • 23rd (Ordinary Time)
    This coming Sunday, 7 September 2025, is the 23rd Sunday in Ordinary Time (Year C). You can download the “Entrance Chant,” conveniently located at the feasts website. I also recorded a rehearsal video for it (freely available at the same website). The Communion Chant includes gorgeous verses in FAUXBOURDON. I attempted to create a rehearsal video for it, and it’s been posted at the feasts website, called by some: “church music’s best kept secret.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

Thus in 1905 the Vatican Kyriale appeared with rhythmic signs and the following legend: “Præsens exemplar, rhythmicis signis a Solesmensibus monachis ornatum, typicae Vaticanæ editioni de cætero plane conforme repertum est.” (This copy, provided with rhythmic signs by the monks of Solesmes, completely agrees in every other respect with the Vatican original.)

— Dom Gregory Hügle, OSB

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  • Karl Keating • “Canonization Questions”
  • “Music List” • 23rd in Ordinary Time (Year C)

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