Favorite wedding music?
With June being known as the traditional month for weddings, I’m curious to know what are readers’ favorite wedding music selections for the liturgy. Mass settings? Motets? Processionals? Hymns? Please leave your stalwarts, sleepers, and gems in the comments box below.
List your least favorite wedding music in the following thread.
24 Responses to “Favorite wedding music?”
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The Vaughn Williams setting of Herbert’s “The Call.”
(Although the Dominican Nuns of Summit have an original setting of the same text in their hymnal that is growing on me.)
The Big Tune from the finale of the Saint Saens organ symphony is my favorite for a joyous, festive recessional for any occasion.
Peace, all.
My favorite warhorse would be a flute/clarinet/guitar arrangement of Jesu Joy I did almost twenty years ago. Since I get mostly smaller weddings (when I consent to do them at all) I don’t have much affinity for Big Numbers.
Brian Wren’s text “When Love Is Found” never tires me, especially when wedded to the tune O WALY WALY.
Aside from these, most anything my wife sings when we do a wedding together is simply outstanding.
I do like Hal Hopson’s wedding of the I Cor. 13 text to O WALY WALY (The Gift of Love). Joseph Gentry Stephens has written a beautiful choral setting of Ubi Caritas that I have had my choir sing for a wedding. I’ve never heard it done at a wedding, but Rene Claussen’s “Set Me As a Seal On Your Heart” would be lovely.
I sang at a friend’s wedding last Saturday. Her selections were:
Prelude:
Byrd – Sing Joyfully
Bairstow – I Sat Down Under His Shadow
Delibes – Flower Duet from “Lakme”
Seating of the Mothers:
Schubert – Ave Maria
Entrance of the Bridesmaids:
J. S. Bach – Jesu Joy of Man’s Desiring
Entrance of the Bride:
Rachmaninoff – Hvalite imia Ghospodne (excerpt)
Communion:
Rheinberger – Ave Vivens Hostia
Tallis – If Ye Love Me
Mozart – Ave Verum Corpus
Presentation of Flowers to Our Lady:
Rachmaninoff – Bogoroditse Devo
Recessional:
Widor – Toccata from Symphony No. 5
At the reception, following the blessing:
Josquin – Ave Maria (as a surprise gift of music for the bride)
I hope I don’t ruin it to say that the Mass setting was the Mass of Creation. This was done because of the sheer amount of other music to prepare, and because it was thought that MoC was a setting which most of the congregants would know and (hopefully) sing. Being up in the choir loft, it was difficult for me to hear if they actually sang.
Dear George:
If I may say so, the bride showed superb taste in her selection of music. With the exception of the Bairstow, I have either heard or helped sing the remainder of the music. I do hope that you sang as part of a choral group for the Bach, Mozart, Rachmaninoff, and Tallis, and that two sopranos sang a duet for the Delibes.
Re the Mass of Creation, I wouldn’t know; I’ve never heard it sung.
In an aside, and perhaps an off topic matter, I was present at a Roman Catholic funeral for the newborn child of two very dear friends some years back. Two other friends, a coloratura soprano and a mezzo soprano, (both with gorgeous voices) got together with the organist at almost the last minute, and pulled off a beautiful rendition of the Pie Jesu, from the Requiem of Andrew Lloyd Webber. In the context of what it was written for, it worked exceedingly well, and was heart-breakingly beautiful.
Peace, all.
Great music for George’s friend’s wedding. But I’d raise a few concerns.
First, the Rite of Marriage doesn’t strictly treat a bridal processional. Instead it speaks of the couple in the pride of place behind the priest, and accompanied by parents and attendants, if circumstances warrant.
Also liturgically, the Communion selections, though nice musically, do not really approach the ideal, even from a traditionalist standpoint. I wonder what psalm setting was used?
And lastly, my wife and I enjoyed planning our wedding together. When I plan with couples, I generally insist on the groom’s involvement (or at minimum, presence at consultations) and maternal non-involvement in discerning options and selections for the liturgy. Even the indifferent person must begin to learn the virtue of accountability to one’s spouse, and be able to express simple likes and dislikes, if not outright opinions on important matters.
Ah, Todd, Todd:
Re the Rite of Marriage, as far as I can see, it simply says that the bridal couple follows the priest and ministers, and that the couple may be accompanied by parents and attendants. It neither mandates the minimalist approach which you seem to favor, nor prohibits the maximalist approach which the bride in question chose. Why do you insist upon making things more difficult than they in fact are?
As regards a supposed eucharistic “ideal” which the eucharistic selections failed to reach, I do not know what you mean.
From the standpoint of the East, the eucharistic hymn is an invitation to receive the body of Christ and to drink the cup of immortality. Additionally, for Great and Holy Saturday, we are bade “Let all mortal flesh keep silent, putting aside all things earthly minded, for the King of Kings, and the Lord of Lords comes to be slain and to give himself as food to the faithful.” In this, we recognize Christ’s sacrifice, present eternally in His Eucharist, literally, his good gift to us.
From the West, the traditional focus has been on adoration of his sacrifice, and of the good gifts that have been given through it. Thus, traditionally, the Adoro te devote of Thomas Aquinas and the anonymous Ave verum corpus have been the standard, and the ideal, of Western Eucharist adoration. From a Western traditionalist standpoint, therefore, the choice of the Mozart and the Rheinberger are impeccable.
As regards what I consider to be the best of modern Western eucharistic devotion, it consists both of a call to receive the Eucharist, a recognition of the presence of Christ and His love for us, and our proper response to that love. In that context, the words “If you love me, keep my commandments, and I will send you another Comforter, even the Spirit of Truth” are a perfect and appropriate modern Eucharistic devotional.
On the other hand, I believe that modern hymns which put the focus on the so-called “people of God”, or on the people as the source of the sacrament (e.g. “I am the Bread of Life”) are simply idolatry and self-worship, and have no proper place in Christ’s Church, let alone at the central focus of divine worship.
If you, Todd, have a “progressivist view” of the Eucharist which differs from the abovementioned folly, I would be happy to hear of it.
Finally, in the absence of an actual statement that these were the bride’s choices alone, I think it impertinent to rebuke the bride, even by implication, for an alleged failure to include the groom in those choices.
Peace, Bernard.
The Rite of Marriage, it is true, gives broad leeway in practice to “local customs,” even non-Catholic ones. That isn’t to say I’ve not programmed bridemaid processionals myself, but I think it hard to hold up such things as a model of “goos taste” in matters liturgical. When my friends Dave and Annie got married in ‘87, they opted for the Litany of Saints as they processed in together on a Thursday evening candlelit Mass. Those people had taste and style.
Regarding the Eucharist, I do not quibble with the notion of Eucharistic sacrifice (though I would like to see it extended as a spiritual practice in both the clergy and laity), again the Roman Rite does give clear guidance about the notion of adoration during Mass. Musical guidelines for the Communion Procession do not include adoration hymns. Psalmody is at the top of the list of choices. A traditionalist Roman Catholic would choose a chanted psalm for Communion at a wedding. Performance music, even great classic stuff as George and his friend planned here, is the stuff of modern American weddings. Mind you, I have no objection with a soloist plying her or his art at a wedding. But I can think of at least five preferred times than during Communion.
Lastly, George did indeed say these were “her selections.” If the groom indeed assisted, I apologize. But I think the involvement of the groom in wedding and liturgical planning is very important. Most women I know wish their men would take more interest in such things and have appreciated my effort to include them. I have bent over backwards to include men in the planning of “their” weddings, and tried to disabuse people of the notion of the “Bride’s Day,” or even worse, the “Bride’s Mother’s Day.”
“Musical guidelines for the Communion Procession do not include adoration hymns.”
Are you sure?
There is enormous leeway for what is acceptable music for liturgy judging from what is published in various hymnals approved by various bishops.
It would be odd if “adoration hymns” were the only that were not suitable.
I know some individuals may not approve of adoration hymns at communion, according to MCW, but that is not exactly binding — lots of priests have said Marian hymns aren’t appropriate during mass either,and that’s just flat wrong, as proven by the fact that the proper antiphons (than which there can be nothing more appropriate,) are sometimes Marian.
What do you mean by “adoration hymns” exactly? Those that just happen to have been used for adoration outside the mass? Adoration itself is never inappropriate, is it? The catechism talks of adoration during Mass.
Peace, Bennet.
I’m talking “guidelines,” of course, not mandates. The original post lauded the “bride’s selections,” with which I would have little or no musical quibble. Liturgically speaking, that is another matter. MCW does indeed criticize and discourage the use of “adoration” hymns, which I would characterize generally as musical pieces more appropriate for Eucharistic adoration and benediction: Panis Angelicus, Tantum Ergo, and the like.
I agree with you on Marian hymns. Their best place is on Marian feasts, of course, and probably as entrance hymns. The Catechism might indeed talk about adoration during Mass. But that would have little support as a primary focus, according to the teachings of the Church.
“MCW does indeed criticize and discourage the use of “adoration” hymns”
“Music in Catholic Worship” is a document issued by a committee of the USCCB. It does not have the force of particular law in the United States since it was not voted on by the entire Bishops’ conference. “Musicam sacram” would be a better document to quote since it was issued by the Holy See after Vatican II.
Greetings, Todd:
I have several points on your last entry:
1. Regarding the comments about taste, bad or good, I am reminded of the rhetorical maxim: de gustibus non disputandum est (Eng. concerning taste there can be no dispute). Nonetheless, while meaning no disrespect to your friends (whom I am sure had a beautiful and tasteful wedding), I find it hard myself to trust the taste of anyone who can write, as you did in your weblog, that the recent television version of A Wrinkle in Time was pretty good. As I recall, Madeleine L’Engle, the author of the above named book, was asked in a recent interview whether the TV movie met her expectations. Her answer: “Yes. I expected it to be bad, and it was.” As for me, that movie was in itself a separate reason why people should be opposed to abortions.
2. Regarding your statement that “a traditionalist Roman Catholic would choose a chanted psalm for Communion”, I have to ask “from what century?”. While Communion antiphons, with a refrain and the whole psalm, were traditional between the 4th and 10th centuries, between the 11th and the early 20th, the maximal practice was that the Communion verse would be chanted (the antiphon had by then been reduced to one verse), and then an appropriate eucharistic hymn or hymns would be sung. While the reforms of Vatican II have restored complete communion antiphons, a traditionalist RC, following the practice of the last ten centuries, would at most have the communion verse sung, and then appropriate hymns.
3. Regarding your assertions that “Musical guidelines for the Communion Procession do not include adoration hymns”, I beg to differ. GIRM seems to indicate that the options are the Communion Antiphon, the Communion verse, and/or “appropriate hymns”. Would you please indicate where, in the documents of Vatican II or the old or recent GIRM, it indicates that adoration, or adoration hymns, are inappropriate?
Peace, all.
Mark, I think we’re talking past each other here. Just because MCW has no legal authority as would be defined prior to the Council (and the document itself claims none) I wouldn’t put its recommendations on a lower rung than those of your average Catholic bride. If you prefer I don’t appeal to its advice, fine. In my opinion, adoration hymns are out of place and inappropriate during the Communion procession. Psalmody and Eucharistic hymns are always a better choice, even at a wedding.
Bernard, I’m afraid your combination of the Litany of Saints (it was my friends’ good taste, not mine; I had nothing to do with the planning of their wedding), L’Engle, Wrinkle, and abortions has me a bit befuddled. I wear worn shirts and trousers (sometimes even mismatched) when I cut the grass: are you going to dismiss my advocacy of the sung Responsorial Psalm at a wedding because I don’t do my yard work in Lands End clothing? I’m not sure what your opinion of my taste in tv has to do with our generally good discussion today, except that it steers us further away from the topic. I don’t buy your view of “voice of God” hymns, unless you’re prepared to indict the Roman Catholic Lectionary for permitting deacons and cantors to proclaim and sing the “voice of God.”
Getting back to topic, while I realize that people sing timidly enough at Sunday Communion, much less at weddings, I cannot hold up as an ideal a wedding liturgy at which the emphasis was on performance music to the near total exclusion (except for the Eucharistic Prayer) of congregational singing. I praised the quality of the music selections, and I have little doubt these were carried off with skill and elan. But clearly, that is insufficient commentary.
“musical pieces more appropriate for Eucharistic adoration and benediction: Panis Angelicus, Tantum Ergo, and the like.”
More approriate than for the Communion song?
Why “more appropriate?”
[i]You gave us bread from heaven, Lord: a sweet-tasting bread that was very good to eat.[/i]
When that is an actual communion antiphon (the most appropriate choice for the communion song,) how can anyone think “panis angelicus” is not appropriate?
“the Roman Rite does give clear guidance about the notion of adoration during Mass.”
Again, why do you say this? Where is the “clear guidance” that discourages adoration during Mass?
Your guidelines, or the guidelines of a handful of American bishops don’t seem to be the Church’s guidelines.
That’s okay, you’re entitled to an opinion (as is the BCL,) but not to pretend it’s official.
And it seems Marian feasts often have Marian antiphons for communion, not just the introit, so I can’t see any hard and fast rule forbidding them — I’m not suggeting you expressed that, just that it is a common bugaboo with certain types of liturgists — I wouldn’t call them progressive, as opposed to traditionalists, merely uninformed.
“In my opinion, adoration hymns are out of place and inappropriate during the Communion procession. Psalmody and Eucharistic hymns are always a better choice, even at a wedding.”
You seem to draw a sharp line between “adoration hymns” and Eucharistic hymns. And, of course, you prefer congregational singing during Communion. Cardinal Mahony, Nathan Mitchell and Gabe Huck like this too.
It all seems like Calvinistic destruction–no motets, no solos, no beauty, no fun. Your way or highway.
If I can interject the argument on Eucharistic hymns to get back to the main subject:
There are many wedding books out there. The one I use is the Oxford book of Wedding Music for Organ. It includes the traditional repertoire (Prince of Denmark’s March, Te Deum, etc.) as well as a VERY good transcription of the Mendelssohn Wedding March. It also includes some pieces by contemporary composers such as a fanfare by Mathias(!!!). Definitely a must buy for any wedding organist.
Thanks for the recommendation, Gavin.
I am only playing weddings in any great number (as opposed to singing them,) overy recenty, and I need to have some new albums at hand for consultations, as the books I have contain titles I would just as soon people didn’t see. (I could just tear them out of the book, I suppose, but I don’t mind doing All I Ask of You, or True Love at a hotel wedding.)
Peace, Mark.
We’re still missing each other, I think. In general, I do prefer the people singing over soloists, yes. While I do believe the cantor (or even the soloist) has a role to lead the people in inspiration, especially at a modern American wedding, I would not hold up performance music during Communion as anywhere close to the ideal for the Roman Rite.
“It all seems like Calvinistic destruction–no motets, no solos, no beauty, no fun. Your way or highway.”
Hardly. I confess to accompanying singers on the Ave Maria and other performance music during Communion at a wedding Mass. I would do it again. The distinction I was attempting to make is that I would not hold up such events as a liturgical music ideal, as George did above. I affirmed the musical quality of the selections for the wedding in question. I criticized the liturgical judgment of not including a single piece for the congregation except for the Eucharistic acclamations. That’s all.
The Mass is about more than my personal enjoyment. If I want to play music for pleasure with an audience, I’ll plan a concert.
“I would not hold up such events as a liturgical music ideal, as George did above. ”
I must be missing something. Where did George hold the musical selections up as any sort of “ideal,” liturgical or otherwise?
“I criticized the liturgical judgment of not including a single piece for the congregation except for the Eucharistic acclamations.”
I thought he said the Mass “setting” was chosen to try to get the congregation to sing — I assumed (perhaps incorrectly,) that that would include the Gospel acclamation, Agnus Dei, etc.
The Ordinary seems sufficient, perhaps even excessive, to expect the assembly to sing at such an occasion., when many in the pews are likely to be non-church-goers, of other religions, too wrought up to sing much, etc.
As a recent bride and a liturgical musician, I’m fond of what we chose for our wedding ceremony. My husband is a Southern Baptist, so some of our choices were to reflect his faith tradition as well. We had a non-Mass ceremony for that reason.
Prelude music:
Sheep May Safely Graze (J. S. Bach)
For the Beauty of the Earth (DIX)
A Gaelic Blessing (Rutter)
Create in Me a Clean Heart, O God (Traditional)
The last two were sung a cappella by a very fine high school chorus. They also sang about a twenty-minute prelude that I missed out on due to being the bride and not being allowed to sit in the church.
Entrance music:
Sleepers, Wake (J. S. Bach)
Bridal Chorus from Lohengrin (Wagner)
The Bridal Chorus was the one piece of music my husband absolutely wanted. At least our organist was excellent and it actually sounded lovely.
Responsorial Psalm:
The Garment of Love (S. Warner)
Possibly stretching a point here, since the text is Colossians 3:12-15 and not a true psalm text. However, it’s one of the loveliest settings of a wedding text I’ve heard.
Gospel Acclamation:
Celtic Alleluia (Walker)
Recessional: Arrival of the Queen of Sheba (G. F. Handel)
Toccata from the Fifth Symphony (Widor)
Had we had time and space, I would have included “Where Love is Found” (O WALY, WALY), “Bogoroditse Devo” (Rachmaninoff), “Alleluia” (Randall Thompson), “Ave Maria” (Biebl), and some Tallis and Vaughan Williams.
Old topic, I know, but for those who caught it (http://www.pipedreams.org/) PipeDreams had a special on this topic. I only heard one piece I was crazy about (the Andrew Clarke trumpet fanfare) but you may well find something of value in this program. And if not it’s all good listening.
If I may suggest something from the West (and I suspect that I already have, my memory being what it is these days), I would suggest Ralph Vaughan Williams’ Fanfare on Rhosymedre. A Quicktime playing of this can be found at the following web address:
http://www.stclementchurch.org/weddings/popup/WilliamsRhosy.html
The actual title of the Vaughan Williams piece cited above is No. 2 of the Three Preludes Founded on Welsh Hymn Tunes, distributed by E.C. Schirmer Publishing (www.ecspublishing.com)
I thank M. Burke for the correction. Obviously, my memory is going in more ways than I thought.