Views from the Choir Loft

In Defense of the Organ Postlude 1

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.

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).

Simplest “Agnus Dei” Ever Published

Our choir is on break during the month of July. I needed a relatively simple “Agnus Dei,” so I composed this setting for organ & voice in honor of Saint René Goupil. It has been called the simplest setting ever composed. I love CARMEN GREGORIANUM (“Gregorian Chant”), especially the ALLELUIAS, INTROITS, and COMMUNION ANTIPHONS. That being said, some have pointed out that certain sections of the Kyriale aren’t as strong as the Graduale or Vesperale. There’s a reason for this—but it would be too complicated to explain at this moment.

—Jeff Ostrowski

14th Sunday in Ordinary Time (Year C)

Our choir is on break during the month of July. However, on the feasts website, the chants have been posted for the 14th Sunday in Ordinary Time (Year C), which is this coming Sunday: 6 July 2025.

—Jeff Ostrowski

Bugnini’s Statement (6 November 1966)

With each passing day, more is revealed about how the enemies of the liturgy accomplished their goals. For instance, Hannibal Bugnini deeply resented the way Vatican II said Gregorian Chant “must be given first place in liturgical services.” On 6 November 1966, his cadre wrote a letter attempting to justify the elimination of Gregorian Chant with this brazen statement: “What really gives a Mass its tone is not so much the songs as it is the prayers and readings.” Bugnini’s cadre then attacked the very heart of Gregorian Chant (viz. the Proprium Missae), bemoaning how the Proprium Missae “is completely new each Sunday and feast day.” There is much more to be said about this topic. Stay tuned.

—Jeff Ostrowski

Pope Pius XII Hymnal?

Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.

—Corpus Christi Watershed

“Hybrid” Chant Notation?

Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.

—Corpus Christi Watershed

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