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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

    PDF Download • “Polyphonic Extension” (Kevin Allen) for Gloria III
    EVIN ALLEN was commissioned by Sacred Music Symposium 2025 to compose a polyphonic ‘middle section’ for the GLORIA from Mass III, often denoted by its trope name: Missa Kyrie Deus sempiterne. This year, I’m traveling from Singapore to serve on the symposium faculty. I will be conducting Palestrina’s ‘Ave Maria’ as well as teaching plainsong to the men. A few days ago, I was asked to record rehearsal videos for this beautiful polyphonic extension. (See below.) This polyphonic composition fits ‘inside’ GLORIA III. That is, the congregation sings for the beginning and end, but the choir alone adds polyphony to the middle. The easiest way to understand how everything fits together is by examining this congregational insert. You may download the score, generously made available to the whole world—free of charge—by CORPUS CHRISTI WATERSHED:
    *  PDF Download • Gloria III ‘Middle Section’ (Kevin Allen)
    Free rehearsal videos for each individual voice await you at #24366. Related News • My colleague, Jeff Ostrowski, composed an organ accompaniment for this same GLORIA a few months ago. Obviously, the organist should drop out when the polyphony is being sung.
    —Corrinne May
    “Booklet of Eucharistic Hymns” (16 pages)
    I was asked to create a booklet for my parish to use during our CORPUS CHRISTI PROCESSION on 22 June 2025. Would you be willing to look over the DRAFT BOOKLET (16 pages) I came up with? I tried to include a variety of hymns: some have a refrain; some are in major, others in minor; some are metered, others are plainsong; some are in Spanish, some are in Latin, but most are in English. Normally, we’d use the Brébeuf Hymnal—but we can’t risk having our congregation carry those heavy books all over the city to various churches.
    —Jeff Ostrowski
    “Yahweh” in church songs?
    My pastor asked me to write a weekly column for our parish bulletin. The one scheduled to run on 22 June 2025 is called “Three Words in a Psalm” and speaks of translating the TETRAGRAMMATON. You can read the article at this column repository. All of them are quite brief because I was asked to keep within a certain word limit.
    —Jeff Ostrowski

Quick Thoughts

    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

“After a discussion lasting several days, in which arguments for and against were discussed, the Council fathers came to the clear conclusion—wholly in agreement with the Council of Trent—that Latin must be retained as the language of cult in the Latin rite, although exceptional cases were possible and even welcome.”

— Alfons Cardinal Stickler, Vatican II ‘peritus’

Recent Posts

  • PDF Download • “Polyphonic Extension” (Kevin Allen) for Gloria III
  • “Booklet of Eucharistic Hymns” (16 pages)
  • PDF Download • “Text by Saint Francis of Assisi” (choral setting w/ organ: Soprano & Alto)
  • “Yahweh” in church songs?
  • “Music List” • Pentecost Sunday

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