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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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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
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    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

A hymn verse need not be a complete sentence, but it must have completed sense as a recognisable part of the complete sentence, and at each major pause there would be at least a “sense-pause.” Saint Ambrose and the early writers and centonists always kept to this rule. This indicates one of the differences between a poem and a hymn, and by this standard most of the modern hymns and the revisions of old hymns in the Breviary stand condemned.

— Fr. Joseph Connelly

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