Views from the Choir Loft

Organ Processionals & Postludes: Suggestions Needed

Jeff Ostrowski · January 6, 2015

HEN I WAS A YOUNG BOY, I fell in love with the organ works of Bach: the majestic A minor (BWV 543), the glorious St. Anne (BWV 552), the sumptuous Art of the Fugue, the mighty Passacaglia in C minor (BWV 582), the resplendent “Fiddle” Fugue (BWV 539), and so forth. After years of directing music at Mass, I have come to understand that not every great organ piece is appropriate for a Processional or Postlude. Choosing a suitable piece depends on many factors: the skill of the organist, the particular strengths & weaknesses of the organ, the length of the procession, and so forth. People who lack a sensibility for the Roman Rite often choose pieces which—although they are certainly magnificent—are not suitable. To do this is to dishonor the work in question.

Can you please send me some of your favorite Processionals & Postludes? I need specific titles. REMEMBER: they have to be short. That’s why so many of the Bach Preludes & Fugues—as great as they are—do not work, because they’re much too long. Use the CONTACT US tab at the top.

Apologies in advance: You’ll immediately receive an auto-response—sent by a robot—reminding you that we cannot always reply to each and every email we receive.

Below I give examples which, in my humble opinion, work very well. As a processional, a brief excerpt from Bach’s G Major Fantasie (BWV 572). As a Postlude, the famous C Major (BWV 553). I feel that Bach’s Dorian Prelude (audio sample) might work as Processional or Postlude: do you agree?

485 Dorian sample

487 Bach Processional

488 Bach C Major Prelude

About Jeff Ostrowski

A theorist, organist, and conductor, Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004), and did graduate work in Musicology. He serves as choirmaster for the new FSSP parish in Los Angeles, where he resides with his wife and children.

“Daily I sat in the temple, close to you…”

Fulton J. Sheen always said the “very best translation” of Sacred Scripture was the version by Monsignor Ronald Knox, and here’s what Knox had for the Passion read today (Pre-1955 Palm Sunday): “And Jesus said to the multitude at that hour, You have come out to my arrest with swords and clubs, as if I were a robber; and yet I used to sit teaching in the temple close to you, day after day, and you never laid hands on me.” (Mt 26:55)

Did you catch that? Our Lord sat close to them! He was near them! The Second Person of the Blessed Trinity touched them, and was friendly toward them! Truly, the people who can hurt us the most—and betray us the most—are those whom we have loved.

—Jeff Ostrowski

Sacred Music Symposium • “What We Avoid”

I wish we had to time to discuss artwork at the Sacred Music Symposium, but there’s just not enough time. At this year’s conference in June, we will sing an absolutely incredible Magnificat setting by Father Francisco Guerrero (d. 1599). If you examine the part books, you will notice a marvelous aesthetic desire to avoid the same capital letter—for the sake of beauty. Do you see how the Part Books find a way to avoid repeating the Capital G twice, by using the word “Superius” (which is roughly analogous to “Soprano”)? Breathtaking!

—Jeff Ostrowski

“Abraham” • Guerrero Imitates His Teacher

Father Francisco Guerrero (d. 1599) studied music with Father Cristóbal de Morales circa 1545. He taught himself the organ. On 3 April 1542 he was engaged as a contralto by Seville Cathedral at an annual salary of 12,000 maravedís. He remained there until 1546, when, at the age of only 17, he was invited—on the recommendation of Father Morales—to become mæstro de capilla of Jaén Cathedral. He was entrusted with the boarding, lodging, and instruction of the six choirboys; but he neglected this duty and was sentenced to be dismissed on 30 August 1548. However, he was absolved and reinstated on 3 November. I think you can see (perhaps) a little homage to his teacher on the word “Abraham.”

—Jeff Ostrowski