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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: Crux Fidelis (attr. King John IV of Portugal)

Keven Smith · March 22, 2021

F YOU’LL BE SINGING HOLY WEEK with your full choir this year, consider yourself blessed. Many parishes are still using limited forces. Others are still under orders not to sing. Even if you’re one of the fortunate ones, you may still be rebuilding your choir program after a long, pandemic-induced layoff. 

In any case, some of your old favorite Lenten SATB selections may now be out of reach. Or perhaps you’re looking for a bit of variety. If so, consider the Crux Fidelis often (mis)attributed to King John IV of Portugal.

Crux Fidelis page on Choral Public Domain Library 

King John IV (1604-1656), who almost certainly didn’t write this motet, reigned over the Portuguese Empire’s high point. Although he was known for his compositional skill, nobody has found an original manuscript for this work. It was first published in France in 1869, and its style is that of a 19th-century motet.

Inside Crux Fidelis

Crux Fidelis isn’t quite what you might expect. The first thing you’ll notice is that it’s in major (my choir sings an edition in G major). Don’t get me wrong: around this time of year, I love Palestrina’s Super Flumina Babylonis, Byrd’s Ave Verum Corpus, and Victoria’s O Vos Omnes. But to have a major-key motet for Passiontide is a welcome change of pace.

Perhaps I’m digging too deep here, but I like to think this motet depicts the sweetness of the cross. Not only is it in major, but it maintains a legato texture all the way through. Even the climax is subtle. Harmonically speaking, not much happens. The composer (whoever he or she really was) tonicizes the dominant very briefly, but the piece never decisively modulates.

Despite all this, Crux Fidelis is anything but “meh.” It’s a motet that settles in on Mount Calvary and calmly tells its story.

What to Look and Listen for

What I love about this piece:

  • The music is in major, but the text is in minor.
  • It hasn’t been sung to death and gives congregations something new upon which to meditate.
  • It won’t tax the voices of a choir that may be approaching exhaustion from near-constant singing during Holy Week.

A few tips:

  • Have a clear idea about tempo. I hesitate to provide a metronome marking. But live with it for a while, and I think you’ll agree that there’s a fairly precise sweet spot for tempo. It doesn’t want to be lento, but it would also be a shame to make it sound as if we’re trying to get this little gem over with.
  • Figure out the length of every phrase ending. This was the thing my choir and I worked hardest on when we learned this piece about five years ago. So many phrases end on long notes, most of which end in consonants. We went through the incredibly tedious but ultimately essential process of having everyone mark that this “S” is on the “and” of beat four while that one is on the downbeat of the following measure. The real thrill comes when these details become ingrained and your choir members can cut off together simply by watching, listening, and carefully controlling the momentum of each note.
  • Try it on a hum, then on vowels-only. Some of the “bigger” Lenten motets supply their own momentum. It would be understandable to see a choir drop its intensity for a piece like Crux Fidelis—but a piece like this needs even more intensity, or it will flop. Consider having your choir hum through the piece to expose the breath control challenges it presents, and to fall in love with the subtlety of its harmonies.

Whether you’re fully back in action or planning scaled-down liturgies, I wish you the best in your liturgical and spiritual preparation for Holy Week and Easter.

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

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Filed Under: Articles Tagged With: crux fidelis, Holy Week, lent, polyphony Last Updated: March 22, 2021

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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

    “What Martin Luther Said…”
    My pastor asked me to write little columns for the bulletin each week. The article for 20 July 2025 has been posted, and it’s called: “What Luther Said…” Martin Luther (an ex-priest and apostate) was an infamous heretic whose ignorance of JESUS CHRIST was only exceeded by his filthy and disgusting vulgarity.
    —Jeff Ostrowski
    “Music List” • 15th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 15th Sunday in Ordinary Time (13 July 2025). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and propers for this Sunday are also provided at the the feasts website.
    —Jeff Ostrowski
    15th Sunday in Ordinary Time (Year C)
    This coming Sunday—13 July 2025—is the 15th Sunday in Ordinary Time (Year C). All the chants have been conveniently assembled and posted at the feasts website. The OFFERTORY, Ad Te Levávi, is particularly beautiful.
    —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

“Latin has been the language of the Latin liturgy for 1,600 years. It is a sign and source of unity as well as a defense of doctrine, not because of the language so much, but because it is a language no longer subject to changes. There are so many beautiful texts which can never have the same effectiveness in translation. Lastly, Latin is bound to an extremely precious heritage of melody, Gregorian chant and polyphony.”

— Cardinal Antonelli (Secretary of the Conciliar Commission on the Liturgy)

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