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Is there, really, A Style of Improvisation (or, for that matter, composed music) which is inherently Catholic as opposed to other styles, which aren't? To assert that there is would be to argue that which is highly questionable if not outright illogical. What are the hallmarks? What are the proofs? I have played Widor's toccata many times as a closing voluntary on Ascension, but do not do so in the belief that it is more Catholic than a given Bach prelude or fugue. It seems to me, with admitted subjectivity, somehow to fit the feast. Is Franck somehow more Catholic than Buxtehude? I think not. Perhaps one could point to early compositions based on plainchant and be on firmer ground than putting forth the grand romantic French school of bombast, emotionalism, and (often) outright schmaltz. Of course there is Tournemire, Messiaen, etc.; still, one could not eschew the God-made miracle of Bach (among others) because he wasn't 'Catholic' - at least not with any assurance of rectitude or sanity. Improvisation? Yes, there is a French school, a German school, an English school...; and one may have a reasonable, inelluctably subjective, preference for any one of these. However, there is not a Catholic school. How to improvise at mass? One could hardly find a better teacher than one's local Anglican cathedral organist-choirmaster - who probably knows more plainchant cantus firmi than his Catholic counterpart. Whose method to use? One would be hard put to find a better one than Gerre Hancock's.

Bach and Buxtehude composed for the Protestant Church. Widor and the others you mentioned, did not. With the knowledge that they wrote for the Catholic Mass, it makes their music much more Catholic than that of people who wrote for the Protestant church.

Bach and Buxtehude did not compose in a style that was common to the Catholic Church then, nor now. Vivaldi did, and it was different enough that Bach copied out his works, transcribed them

If one connects the with music one is playing on a metaphysical level, then there is yet another distinction between music that was composed for the Catholic Church and the Protestant Church.

What, pray, makes a Widor symphony or a Franck chorale more Catholic than a Bach organ prelude on Nun komm der Heiden Heiland (which is another way of saying Veni, redemptor gentium)? Or, for that matter, Buxtehude's great Magnificat which quotes (however obliquely) the eighth psalm tone? Or even just a plain grand and ceremonious prelude and fugue? The answer is 'nothing'! Are Byrd's works for the C of E less Catholic than the ones he wrote clandestinely for Catholic use? The texts of both are holy writ, and they are all wonderfully ceremonial. This reasoning is nothing but magic! As for 'Catholic, in a ceremonial way'? I've heard too many Catholics improvising away on or off a cantus firmus in a way that was more purple over-wrought bloated romantic rubish than truly 'ceremonial' or 'Catholic'. What an impression they make on the undiscerning!!! And, a note on style: there are many Catholics with German contrapuntal minds whose playing betrays a Bachian lineage far more ceremonial and satisfactory than the warmed over Vierne or ill-copied DuPres which too many people seem to think is the hallmark of Catholic organ music. The French are not the only Catholics in the world... and, Catholics (French or otherwise) do improvise their share of 'un-Catholic' un-cantus firmus organ music and play it un-ceremoniously in church.

Oh well, crank up the mighty Allen and make everything sound equally bad. LOL. I am more concerned with the lack of good instruments in Catholic churches today, than with French and German organ styles. Both of those styles are generally better than what the major "Catholic" publishers are selling. In most parishes, music from France, Germany, and England would be an improvement over what the congregations are hearing.

As an interesting aside: recent statistics are that there are more Catholics than Lutherans in Germany. So, given their historic stylistic influences, there are some who might say that, due to their Germanness, they sound more Protestant than Catholic. And, how many angels can dance on the tip of a pin?

ldknutson,

Actually, the repertoire is a good place to start. When it comes right down to it, improvisation (in its more practical role-I'm not speaking of the perfected art form) is being able to instantly recall learned (through listening or playing) musical ideas, expand them to fit the time needed as well as thematic and harmonic material being used, and weave them in and out of written, planned music.

Some repertoire to consider for processionals:

Toccata (Vierne I Final is a good one to look at)
North German Preludia
Pedal point (all that good Italian and S. German rep.)
Fanfare (think of all those great English pieces, many of which are quite easily accessible like the C.S. Lang Fanfare)
Plein Jeu (Couperin, Clerambault, Guilain, DeGrigny et others)
other pieces like the first movement of the Langlais Suite Medievale, Tournemire Te Deum, music of Paul Benoit, Flor Peeters-there's a lot of rep. out there for fertile improvisation

One does not need to be able to improvise a fugue to be successful at this, although some canonic stuff is really fun! And of course, many successful improvisers sketch things out in advance, so you can certainly map out major key areas, and work out certain musical gestures beforehand.

Above all, I tell students and others who ask for my counsel to just do it! You may fall on your face at first, but the rewards are great when this skill is developed over time. Also, it is an absolutely necessary skill for cathedral liturgy.

CharlesW,

I think you can still use the skills I mentioned above and improvise extensions or interludes. You can also use motivic material from the hymn itself and expand through sequence as well as other techniques.

I work in a diocese where the bishop wants instrumental music to accompany the procession (organ or organ/brass if brass is playing for the Mass.) We then sing a hymn when he reaches the altar. In most cases, I play literature, making cuts where needed, and improvising a bridge to the opening hymn. Occasionally, as I did on Holy Thursday, I will improvise on the tune of the Introit.

tmkoch,

CanticaNOVA Publications has a couple of good books of "alternate hymn accompaniments" that have exactly what you're asking about. They're far from comprehensive, but between the (I believe 2) books there are a couple of dozen popular hymn tunes set.

I would, too. :)

"Ceremonial Organ Playing" is a bit of a generalised term. I would roughly divide ceremonial music into 4 main groups: Preludes, Interludes, Postludes and Fanfares.

Preludes are basically "mood-setters" before mass you would play something reflective of the liturgical season, but you may also want to consider that people are coming into the church to pray before mass. A practical function of the prelude is to aid prayer by discouraging noise and chatter from people entering the church. A good idea is to improvise on the introit or the first hymn, soloing out clear passages or motifs from the hymn. You've got the score in front of you anyway, and it helps to jog the memory of the congregation/choir for the first song.

Interludes are again designed to aid in prayer. Sometimes the offertory is so short (no procession or incense) that it isn't worth putting on a hymn as you would only sing one or two verses. Playing an interlude on a well-known hymn often helps. A personal favourite of mine is to improvise in Picardy (Let All Mortal Flesh Keep Silence) or, if it isn't too hard, on the offertory melody of the gradual. Sometimes I just play an organ reduction of a motet such as the Arcadelt Ave Maria (on Marian Feasts) or on Byrd's Ave Verum Corpus. There is also a Sarabande in D minor which I use, or simple little pieces such as Minuets or chorales. There are lots of possibilities.

Postludes are generally louder and grander pieces for the exist of the sacred ministers and the general noise of the congregation leaving and the inevitable chatter. Having it discourages people from socialising in the church after mass, and encourages them to go outside if they want to chatter. If I know that lots of people are going to stay inside the church after the postlude, I generally play a second quieter piece to bring back the mood to that of prayer. I might improvise on a chant hymn or antiphon (Salve Regina for example.)

Fanfares are difficult to place. In churches where there is a long procession of the Gospel to the ambo, this is an appropriate place for a fanfare. Most churches generally don't have a requirement for this.

It varies from church to church. I would recommend that you closely look at the liturgical practices of your church and then tailor the music to suit.

Would this ( http://www.sheetmusicplus.com/title/50-fanfares-for-organ-sheet-music/4803444 ) be something worthwhile?