OMEONE WHO began reading our blog at the age of 18 is now 33. Over the years, certain leitmotivs have established themselves (which is only natural). A theme I’ve frequently lamented is liturgical “influencers” who daily create 50+ posts on social media—and spend hours filming ‘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 desire greater reverence at Mass? In my opinion, the answer is quite simple. Forming a choir is grueling and thankless work, whereas typing on the internet all day requires virtually no effort.
Choral Repertoire • Choirmasters must constantly challenge their members, most especially by choosing superb repertoire. Otherwise volunteers 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. The conscientious choirmaster never rests from a relentless pursuit of repertoire.
Croft’s Canonic Kyrie • You can help your choir members become familiar with polyphony 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.
(1 of 2) Rate of Failure • So why do most choirs fail? To put it rather bluntly: 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 an ensemble of soloists. The irresistible, rich, luscious, gorgeous choir sound is quite a different thing than a soloists’ ensemble.
(2 of 2) Rate of Failure • I’m not saying an ensemble of soloists can’t sound beautiful—but it’s not identical to a rich, sumptuous, resplendent 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? Each voice is ‘aiming’ for the same note, but some are a little above while others are slightly below. That’s where the richness comes from.
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.
