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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: Dormi Jesu (Luc Jakobs)

Keven Smith · October 20, 2022

ON’T YOU HATE IT when someone recommends a great Christmas motet to you on December 21? Especially when it’s a brilliant piece that you would have had your choir learn if you had only known about it earlier? You’ll thank me, then, for writing this article in October and introducing you to a Christmas motet your choir will love. It’s a piece you would have found only after many hours of searching on Choral Public Domain Library. Or maybe you would have skipped over it because you haven’t heard of the composer.

Luc Jakobs isn’t a famous name—but based on his spellbinding Dormi Jesu, he should be. According to CPDL, he’s a Dutch composer, choral conductor, and harmony teacher born in 1956.

Dormi Jesu on Choral Public Domain Library >

Inside Dormi Jesu

Mr. Jakobs’ SATB setting of Dormi Jesu uses the standard text. It’s slow and delicate yet colorful. Although Mr. Jakobs provides a key signature of 2/2, I’ve always conducted it in four. We begin in Db major with a tenor solo against sustained notes in the other voices. After eight bars, the sopranos take the melody. We then encounter a middle section in Bb major in which the sopranos hold onto the melody and the alto line splits to create some delicious dissonances. While Mr. Jakobs keeps the dynamics at piano and pianissimo throughout this middle section, the intensity does increase. For the final 12 bars, we return to the tranquility of the motet’s opening, which makes sense because the whole point is to lull our Infant Lord to sleep so that Our Lady can finally get some rest.

What to Look and Listen for

What I love about this piece:

  • It sets a Christmas text that hasn’t been used to death. There are so many settings of O Magnum Mysterium out there. I would never discourage a composer from writing another—in fact, one of my friends recently did just that for our choir. But as a choir director, you hesitate to keep bringing the same text, however beautiful it is, to your choir. Dormi Jesu will give most choirs a fresh text for meditation as they sing.
  • It’s classical enough and “cool” enough to please everyone. Mr. Jakobs uses some distinctly jazzy chords, but he does it under a veil of reverence and awe. Even an avowed enemy of modern harmonies will have to admit that this motet is gorgeous. Meanwhile, for a choir that sings mostly Renaissance polyphony, this piece will present a welcome change of pace.
  • It’s simple in its construction. Notice I didn’t say it was “easy” (more on that below). But it’s the kind of piece that will immediately seem within reach for even a small, advancing choir. Besides the fact that there’s alto divisi, there’s not much here to dissuade choir directors from trying Dormi Jesu.

A few tips:

  • Encourage your singers to listen to the recording frequently. I’ve noticed something about pieces that contain “crunchy,” hard-to-tune chords: the learning usually goes much more quickly than I expect. I suspect that a choir with good listening skills can pick up lines more easily in a colorful piece than they can in a “tame” piece. Perhaps it’s a matter of motivation? Choirs want to sing stunning music. And while I strive never to bring dull music to my choir, I must admit that not every motet makes my singers’ eyes light up. This Dormi Jesu does, every year. If it sounds too difficult for your choir, don’t give up on it until you’ve let them try it. You may be surprised at the results.
  • Listen to beginnings and ends of phrases. This Dormi Jesu is full of little lifts. It would be easy to bask in the luscious chords while letting entrances and cutoffs get ragged. I struggled with “cleanness” in this piece at first, probably because I was trying to do too much as a conductor. Yes, everyone should watch the conductor carefully, but giving constant cutoffs in a piece like this can slow down the line. I’ve found that the real key is to remind everyone to breathe together (and in rhythm) for entrances and to listen for everyone else at phrase endings. I’ll even tell them, “Don’t be the first to cut off….but don’t be the last.” Sometimes vagueness trumps specificity.
  • Move DO. Listening to the recording of Dormi Jesu is helpful, but of course I had my choir polish up this piece with solfege. If you do the same, don’t forget to move DO. The beginning of this piece is clearly in Db major. I had my singers switch to Bb major in bar 16, one bar before the change of key signature, because I think it makes a smoother transition of syllables (for example, the basses are then thinking SOL-DO, which they’ve done thousands of times). My singers then switch to G major in bar 30 to ensure a smooth transition to bar 31, which is just a G major chord other than the tenor. The final change is to Bb major in bar 35.
  • Beware of bar 31. As I mentioned, it’s almost a regular G major chord, but the tenor has an A. This is a tough one to tune because after a couple of key changes, aural fatigue begins to set in. I got good results by having my choir drill that transition from 30 to 31 without tenor and pointing out to them that they’re landing on a regular G major chord. I then warned them not to listen too hard to the tenors when I added them back in. Once choirs know that a “wrong” note belongs there, they can work around it!

When my choir learned this piece several years ago, the composer’s website encouraged choir directors to notify him of any performances. I emailed Mr. Jakobs to let him know we had sung Dormi Jesu at Midnight Mass and received a gracious reply. I hope this motet will become as much of a favorite in your loft as it has been in mine.

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

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Filed Under: Articles Tagged With: choir directing, Latin Mass, motets Last Updated: October 20, 2022

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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 • “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
    “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
    “Music List” • 27th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 5 October 2025, which is the 27th Sunday in Ordinary Time (Year C). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the spectacular feasts website alongside the official texts in Latin. Readers will want to check out the ENTRANCE CHANT posted there, which has a haunting melody (in the DEUTERUS MODE) and extremely powerful text.
    —Jeff Ostrowski

Quick Thoughts

    “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
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

“We must remember that the important elements of a rite are not the things that will first be noticed by a casual and ignorant onlooker—the number of candles, colour of the vestments and places where the bell is rung—but just those things he would not notice: the Canon, fraction and so on, the prayers said in a low voice and the characteristic but less obvious rites done by the celebrant at the altar.”

— Fr. Fortescue explaining that Anglicanism does not preserve Sarum

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