It’s my pleasure to share with you a new offering in the Sacred Music Library, an exceptional collection that brings the richness of early organ and keyboard music into today’s liturgical settings. This collection, curated with great care and respect for tradition, includes compositions that span the late medieval, Renaissance, and early Baroque periods, aiming to reintroduce beautiful, sacred sounds from the past into modern worship.
We owe this incredible addition to the dedication of John F. Church, whose expertise in Catholic music and passion for quality hymnody align closely with the mission of the Sacred Music Library. His goal, like mine, is to support parishes with affordable access to high-caliber music that connects deeply with the liturgy.
The music in this collection has a unique origin story. Much of it grew from the creative explosions in church music dating back centuries, designed to accompany worship with a sense of reverence that transcends generations. Although early organ and keyboard music gained some popularity in the 1960s, it has yet to receive the full recognition it deserves. Through this collection, we hope to change that by showcasing pieces that bring authenticity to today’s liturgical music.
Many of these compositions were created expressly for liturgical use. Pieces like Cavazzoni’s Christe Redemptor Omniumand Titelouze’s Ave Maris Stella represent the organ “alternatim” style, where organ passages and choir responses intertwine to elevate hymn verses. This creates a soundscape in the liturgy that invites participation while offering spiritual depth. Other works, such as toccatas, voluntaries, and intonazione pieces, serve various parts of the Mass and provide both beauty and structure, often guiding singers with the starting pitch or harmonies to sustain the modal structure of hymns.
We have also included some gems with secular roots—pieces that, while originally intended for social settings, fit beautifully within the context of liturgy. Susato’s Ronde and the Paduana del Re are fine examples; while they were once performed as dance music, their compositions work seamlessly as offertories or postludes, adding a subtle, elegant finish to the service.
Additionally, works by Byrd and Bull, often described as “fantasies,” were initially played on plucked keyboards like the virginal or harpsichord. These fantasies invite an element of reflection and devotion, blending sacred themes with musical intricacies that resonate within the sanctuary.
While some of these compositions may sound unfamiliar at first, they have been selected for their ability to captivate listeners across time. The enduring beauty of each piece lies in its dual capacity to honor its historical roots and speak to the soul of today’s worshippers. These compositions reflect what the Church has long cherished: sacred music that enhances the liturgy without overshadowing it, expressing the heart of the faithful and guiding us toward a greater sense of reverence.
This collection reaffirms the papal vision that organ music should not only be a part of worship but also a conduit for the congregation’s devotion to God. I am confident that these works will serve as a meaningful addition to your parish music program, bringing the timelessness of early sacred music to life for generations to come.
Thank you, John, for your dedication and expertise in assembling this collection. May these pieces serve as both a reminder and a revival of the Church’s rich musical heritage.
— Noel Jones