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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

In Defense of the Organ Postlude

Fr. David Friel · January 30, 2017

HE SECOND issue of the new magazine, Altare Dei, from Choralife has just been published. Subtitled “A Magazine on Liturgy and Sacred Music,” this publication will be of interest to many of our readers here at CCW.

The lead story in this latest issue is a well-argued piece by Dr. Peter Kwasniewski (known to our readers as a past contributor): “In Defense of the Organ Postlude.” Against those who are disturbed by this practice, which has been common since the late Renaissance, Kwasniewski makes a case that the organ postlude should not be viewed as a distraction to the act of thanksgiving. It should be appreciated, rather, for its ability to create “a sonic image of angelic choirs, a wordless transcendent proclamation of God’s glory.” Thus, the author’s fundamental claim is that the organ postlude has the spiritual benefit of immersing its hearers in the glory of God. Want to read more? Click here to download.

Included with this issue of Altare Dei is a hefty insert with seven pieces of sheet music. Among the compositions included are an Ave Maria, an Easter Alleluia, and an organ interlude from composers such as Colin Mawby, Mauro Visconti, and Valentinus Miserachs.

A new article of mine appears in this installment. Entitled, “The Earliest Catholic Choir School,” my article explores the roots of the choir school tradition in the Roman schola of the seventh century. Fascinating pieces on a variety of liturgical and musical subjects have also been contributed by David Fagerberg (theology professor, University of Notre Dame), Rev. Thomas Kocik (priest of the Diocese of Fall River, MA), Rev. Enrico Finotti (Italian liturgist), Fulvio Rampi (Gregorian chant scholar), and others.

Altare Dei is the handiwork of Maestro Aurelio Porfiri (another past contributor to these pages). Porfiri’s experience as a choir master, conductor, organist, and music theorist has prepared him well to serve as editor of this new publication.

The magazine is distributed strictly in digital format, on a bi-monthly basis. The first issue is still available for download.

Download the latest edition here for only €6.00, and see the excellent content for yourself!

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

Filed Under: Uncategorized Tagged With: Altare Dei Magazine, Father Enrico Zoffoli, Pipe Organ, Sacred Choral Works Kwasniewski, Sheet Music Last Updated: November 13, 2019

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About Fr. David Friel

Ordained in 2011, Father Friel is a priest of the Archdiocese of Philadelphia and serves as Director of Liturgy at Saint Charles Borromeo Seminary. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Spectacular Communion Setting!
    The FAUXBOURDON setting of the Communion for the Baptism of the Lord (which will occur this coming Sunday) strikes me as quite spectacular. The verses—composed by the fifth century Christian poet, Coelius Sedulius—come from a long alphabetical acrostic and are deservedly famous. The feast of the LORD’S BAPTISM was traditionally the octave day of Epiphany, but in the 1962 kalendar it was made ‘more explicit’ or emphasized. The 1970 MISSALE ROMANUM elevated this feast even further.
    —Jeff Ostrowski
    PDF • “Music List” (Sunday, 11 January)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for Feast of the Baptism of the Lord (SUNDAY, 11 January 2025). If such a thing interests you, feel free to download it as a PDF file. The FAUXBOURDON verses for the Communion Antiphon—to say nothing of the antiphon itself—are breathtaking. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are available at the monumental feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    Epiphany Hymn • “New 2-Voice Arrangement”
    The Von Trapp Family Singers loved a melody that was featured heavily (perhaps even “too heavily”) in the Brébeuf Hymnal. It goes by many names, including ALTONA, VOM HIMMEL HOCH, and ERFURT. If you only have one man and one woman singing, you will want to download this arrangement for two voices. It really is a marvelous tune—and it’s especially fitting during the season of Christmas and Epiphany.
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of January (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski
    PDF Download • “In Paradisum” in English
    We always sing the IN PARADISUM in Latin, as printed on this PDF score. I have an appallingly bad memory (meaning I’d be a horrible witness in court). In any event, it’s been brought to my attention that 15 years ago I created this organ accompaniment for the famous and beautiful ‘IN PARADISUM’ Gregorian chant sung in English according to ‘MR3’ (Roman Missal, Third Edition). If anyone desires such a thing, feel free to download and print. Looking back, I wish I’d brought the TENOR and BASS voices into a unison (on B-Natural) for the word “welcome” on the second line.
    —Jeff Ostrowski

Random Quote

“It introduces us to a still and serious world, deserted and rigid, without colour, without light, without motion; it does not gladden, does not distract; yet we cannot break away from it.”

— ‘Schweitzer on the THEME from Bach’s “Art of Fugue”’

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