OMEONE WHO began reading our blog at the age of 18 will now have attained the age of 33. Certain leitmotivs have established themselves, which is only natural. Something I’ve lamented often is liturgical “influencers” who gladly post 50+ times each day on social media—and spend hours filming themselves for ‘selfie’ podcasts—yet won’t lift a finger in real life to improve the situation. How can we explain this? Are they being honest when they claim to ardently desire greater reverence at Mass? The answer, in my opinion, is quite simple. Forming a choir that sings each week for Mass is an incredible amount of work. Anyone can publishing tons of articles saying “improve the Mass”—but very few are willing to address the situation in real life.
Choral Repertoire • Choirmasters must challenge their choir members, most especially by choosing superb repertoire. Otherwise they won’t stick around—because their time is valuable. The Brébeuf Catholic Hymnal is crucial for any serious choral program; but even that splendid book doesn’t contain everything. Conscientious choirmasters never rest from their relentless pursuit of repertoire ideas.
Croft’s Canonic Kyrie • The best way to help choir members become familiar with polyphony is by introducing canons and rounds. One of the most magnificent canons I know was written by WILLIAM CROFT, the organist at Westminster Abbey (who also composed the famous ST ANNE hymn tune). The first section involves the congregation, and—best of all—this composition can be used in both forms of the Roman Rite. If you’re a TENOR, you owe it to yourself to follow the link below and sing through the TENOR rehearsal video; it’s loads of fun.1
* PDF Download • CROFT CANON KYRIE (SATB)
—This perfect canon is a “Choral Extension” for the KYRIE ELEISON.
Free rehearsal videos for each individual voice await you at #22896.
Vatican II • The Second Vatican Council solemnly declared: “The treasury of sacred music is to be preserved and fostered with very great care” (Sacrosanctum Concilium §114). That means the Catholic choirmaster’s job is teaching choral music to choirs. Dan Schutte’s Mass setting based on “My Little Pony” (Missa My Little Pony) isn’t part of the THESAURUS MUSICAE SACRAE spoken of by Vatican II. Neither is OCP’s Missa Back-To-The-Future. Choir directors should never feel embarrassed about teaching choral music to their choirs. According to Vatican II, they have an obligation to do so.
Rate of Failure • So why do most choirs fail? To be blunt: it’s because many sound bad. The primary reason they sound bad is insufficient members. The minimum required to have a choir is three (3) singers on each part. Too often, choirmasters attempt polyphony with one (1) singer per part. Technically, that’s not a choir—that’s a group of soloists. The irresistible, rich, luscious, gorgeous choir sound is quite a different thing than an ensemble of four (4) soloists. [I’m not saying an ensemble of soloists can’t sound beautiful; but it’s not identical to a rich choral sound.]
In Los Angeles, I recruited a large choir of volunteers. On a weekly basis, we provided music like what’s contained in this ‘live’ recording of #474. Do you hear how rich and luscious the choral sound is?
Conclusion • To maintain a choir requires relentless recruiting. Once the singers join, the conscientious choirmaster must provide wonderful repertoire for them, such as the Croft Canonic Kyrie (above). It’s hard work … but it’s totally worth it!
1 Most readers won’t explore the “rehearsal videos for each individual part” (see above), and this makes me sad.
