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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

    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —Jeff Ostrowski
    “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

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    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

Random Quote

The People’s Hymnal suffers from a too literal and awkward translation. And even in the lovely Slovak “Memorare” in The Saint Gregory Hymnal we are still asked to sing “that anyone who sought thee, or made to thee his moan.” Why not “groan” or “bone” or even “phone?” The only thing necessary, it seems, is that it rhyme with “known.”

— Mons. Francis P. Schmitt (1958)

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