At this time of the year, there are more than .fl. the usual number of brides attempting to make the proper arrangements for their wedding. The dress must be fitted, the flowers must be ordered, the organist and soloist must be engaged, and music must be selected for the “big day.” There are books which will inform you of the proper etiquette needed in a wedding, the duties of all who are involved, and even how to write thank-you notes. In selecting a dress, you can see a replica of it in bridal magazines or salons, or see it pictured in a pattern book. The florist gives suggestions and has pictures of the arrangements that he has to offer. Even the photographer has a list of suggested pictures to be taken during the festivities. But who gives any sound advice regarding the music of this occasion? What guidelines are there for the prospective bride in this area? Usually none!
In order to set some guidelines, we must first understand what marriage is. There are different views of what marriage is, ranging from a sacrament to a purely civil ceremony. Obviously this makes quite a difference. In a sacrament we are very much concerned with the holiness of God, and the glorification of his Name. In a civil ceremony, a sacred song would be almost out of place.
The reformed view of marriage is at neither of these extremes. We recognize the fact that marriage is a civil ceremony. However, we also realize the spiritual nature of the marital state: its God-given character, its abiding moral responsibilities, and its reflection of the faith-relationship with Christ. The vows are not taken to the state, they are taken before God. Add to this the fact that marriage is usually performed by a minister, and frequently occurs within a church; and you will understand that the civil service becomes quasi-religious (“in a certain sense” religious).
Because of this secular-sacred mixture, it becomes rather difficult to set firm guidelines. This is reflected in the usual mixture of secular and sacred music that is found in a wedding ceremony. The prelude might be a mixture of secular and sacred music ranging from “Sheep May Safely Graze” by Bach, to “O Promise Me.” The processional concludes with the bride arriving to the strains of Lohengrin’s “Wedding March,” an operatic piece filled with pagan orgy; followed by the soloist nervously singing the popular song, “Because.” This may sound quite extreme, and it is; but situations such as this arise in many weddings today.
The thing being criticized in the previous example is not the mixture of secular and sacred music. This aspect of the question will be dealt with later. The objection being raised concerns the varying caliber of the music being used. Let me try to explain this concept by applying it to a different situation. No one would ask the florist to decorate the church with palms and ferns, have lovely bouquets, orchids for the attendants, and a nosegay of dandelions for the bride. This kind of mixture grates upon our sense of good taste, and outrages common sense; but exactly the same thing is evident in the choice of music used in weddings.
Out of this thinking should come the first guideline: wedding music should be of a consistent quality. Decide upon the level of music that you would like to have in your wedding ceremony, have all of the music (secular and sacred) on that level, and engage your organist and soloist according to that choice.
The quasi-religious nature of the wedding ceremony allows for more freedom in the selection of music than a worship service would. Article 70 of the Church Order states that the Church solemnizes marriage. What does this mean? “Solemnize” means “to perform with pomp and ceremony.” Since marriage is a joyful and festive time, then, in keeping with this spirit, the music should reflect the rejoicing of the event. Many people have the idea that all of the music before the wedding ceremony should be soft, moodsetting-music, and all of the music after the ceremony should be loud. I can’t think of anything more dampening to a joyful spirit than such a binding rule as this. A listening diet of soft background music exclusively is about as joy-inspiring as a person going swimming in a five-gallon pail. By the same token, a steady diet of loud music is as capable of giving a headache as a rhythmic drip of water on one’s neck. Vary the music! Have the variance be that of volume, character (not caliber), texture (running passages over against chordal structure), and registration.
From this discussion, we come to the second guideline: the music should ?”effect the joy of the occasion. Most brides would not feel qualified to make these choices. The solution to that problem is to engage a capable organist. Express your views to him, and let him make suggestions which you may be able to consider more concretely. It is quite understood that an organist engaged for a wedding will assist in the choosing of the processional music; but I’m sure that if a bride expressed such an interest in the prelude and postlude selections as to listen critically and make choices, any organist would be happy to accommodate.
There is something about the wedding ceremony that suggests nobility and majesty. It is obvious that the music for the wedding must reflect that majesty. No matter what level or caliber of music is decided upon for your wedding, there will be no majesty or nobility if the organ music is rhythmically hesitant or faulty, if there are mistakes and messy passages; or if the soloist is so nervous that one is constantly breathing for him, or swallowing for him, or just wishing he’d sit down. Remember, you are creating an atmosphere—an atmosphere of solemnity, majesty, beauty and praise to God. One of the greatest destroyers of this atmosphere is “the family plan.” By the family plan, I am referring to any relative who can play by car, or who has had a few lessons, etc. Why must you honor that member of the family and place him in the position of setting the entire tone for your wedding ceremony? Is it because you’re using this area of the ceremony to cut financial corners? Or again, just because Aunt Suzie has a rather pleasant voice, do you think she is trained enough to sing alone, in front of many people, enunciate words so that they are intelligible, have enough breath control in spite of her nervousness to sing one complete phrase without gasping for air, and in general, enhance this festive atmosphere? The role of music at a wedding is of utmost importance. There is more music than there is speaking, and that music can either elevate or degrade the entire ceremony. A kiss held embarrassingly long will cast a distasteful shadow upon the whole occasion, so a solo or organ music, poorly performed will defy any aura of majesty.
Therefore the third guideline: engage competent musicians. Ask them for suggestions, heed their advice, and pay adequately for their services.
Processional music seems to be the greatest problem as to choice for the prospective bride. There are still a few people who feel that they aren’t really married unless they have had Lohengrin’s “Wedding March.” May I suggest that you do a little research on the significance of the “Wedding March” as it occurs in the opera? However, if that doesn’t bother you, wouldn’t it bother you to know that nearly everyone is mentally singing to himself,
Here comes the bride
Fair, far and wide
Here comes the groom
As skinny as a broom
If anything would destroy the solemnity and majesty of the moment, that would!
A general atmosphere of expectation is what is desired in the ceremony from the moment the male attendants enter to the moment when the bride appears. One would think that the best way to create this atmosphere would be to progress in volume from loud to louder to loudest. Have you ever considered doing just the opposite? After the mothers have entered, when all is ready for the ceremony, and before any attendants, male or female, enter; play a trumpet tune. “Trumpet Tune” or “Trumpet Voluntary” by Purcell would be appropriate, or the “Trumpet Dialogue” by Clerambault is also very effective. Then have something very stately, but brilliant in character (“Hymn of Joy” by Gounod) as the music for the men. Then as the bride’s attendants prepare to enter, change to a piece of equal brilliance, but more intricate in texture (“Allegro Maestoso” from The Water Music Suite by Handel). After the girls are in position, there will be complete silence during which the mothers will rise, the attendants will turn and the company will rise. Now the feeling of expectation is complete. At this time, play something soft, solemn, and very simple. “God’s Time Is Best” by J. S. Bach, or “Air” on the G-string by J. S. Bach, or “Andante” from The Water Music Suite by Handel will all hold this mood beautifully; but I like the first suggestion the best, if the bride is willing to wait to come down the aisle until after the introduction.
These, of course, are only suggestions, and there is such a wealth of music available that a listing of possibilities would be impossible. If you, as a prospective bride, work with the musicians and follow the general guidelines listed above, the beauty and solemnity and majesty that you covet will be yours for your Special Day.
Mrs. Wenda De Vries is the wife of Rev. James De Vries, pastor of the Haven Christian Reformed Church, Zeeland, Michigan
In order to set some guidelines, we must first understand what marriage is. There are different views of what marriage is, ranging from a sacrament to a purely civil ceremony. Obviously this makes quite a difference. In a sacrament we are very much concerned with the holiness of God, and the glorification of his Name. In a civil ceremony, a sacred song would be almost out of place.
The reformed view of marriage is at neither of these extremes. We recognize the fact that marriage is a civil ceremony. However, we also realize the spiritual nature of the marital state: its God-given character, its abiding moral responsibilities, and its reflection of the faith-relationship with Christ. The vows are not taken to the state, they are taken before God. Add to this the fact that marriage is usually performed by a minister, and frequently occurs within a church; and you will understand that the civil service becomes quasi-religious (“in a certain sense” religious).
Because of this secular-sacred mixture, it becomes rather difficult to set firm guidelines. This is reflected in the usual mixture of secular and sacred music that is found in a wedding ceremony. The prelude might be a mixture of secular and sacred music ranging from “Sheep May Safely Graze” by Bach, to “O Promise Me.” The processional concludes with the bride arriving to the strains of Lohengrin’s “Wedding March,” an operatic piece filled with pagan orgy; followed by the soloist nervously singing the popular song, “Because.” This may sound quite extreme, and it is; but situations such as this arise in many weddings today.
The thing being criticized in the previous example is not the mixture of secular and sacred music. This aspect of the question will be dealt with later. The objection being raised concerns the varying caliber of the music being used. Let me try to explain this concept by applying it to a different situation. No one would ask the florist to decorate the church with palms and ferns, have lovely bouquets, orchids for the attendants, and a nosegay of dandelions for the bride. This kind of mixture grates upon our sense of good taste, and outrages common sense; but exactly the same thing is evident in the choice of music used in weddings.
Out of this thinking should come the first guideline: wedding music should be of a consistent quality. Decide upon the level of music that you would like to have in your wedding ceremony, have all of the music (secular and sacred) on that level, and engage your organist and soloist according to that choice.
The quasi-religious nature of the wedding ceremony allows for more freedom in the selection of music than a worship service would. Article 70 of the Church Order states that the Church solemnizes marriage. What does this mean? “Solemnize” means “to perform with pomp and ceremony.” Since marriage is a joyful and festive time, then, in keeping with this spirit, the music should reflect the rejoicing of the event. Many people have the idea that all of the music before the wedding ceremony should be soft, moodsetting-music, and all of the music after the ceremony should be loud. I can’t think of anything more dampening to a joyful spirit than such a binding rule as this. A listening diet of soft background music exclusively is about as joy-inspiring as a person going swimming in a five-gallon pail. By the same token, a steady diet of loud music is as capable of giving a headache as a rhythmic drip of water on one’s neck. Vary the music! Have the variance be that of volume, character (not caliber), texture (running passages over against chordal structure), and registration.
From this discussion, we come to the second guideline: the music should ?”effect the joy of the occasion. Most brides would not feel qualified to make these choices. The solution to that problem is to engage a capable organist. Express your views to him, and let him make suggestions which you may be able to consider more concretely. It is quite understood that an organist engaged for a wedding will assist in the choosing of the processional music; but I’m sure that if a bride expressed such an interest in the prelude and postlude selections as to listen critically and make choices, any organist would be happy to accommodate.
There is something about the wedding ceremony that suggests nobility and majesty. It is obvious that the music for the wedding must reflect that majesty. No matter what level or caliber of music is decided upon for your wedding, there will be no majesty or nobility if the organ music is rhythmically hesitant or faulty, if there are mistakes and messy passages; or if the soloist is so nervous that one is constantly breathing for him, or swallowing for him, or just wishing he’d sit down. Remember, you are creating an atmosphere—an atmosphere of solemnity, majesty, beauty and praise to God. One of the greatest destroyers of this atmosphere is “the family plan.” By the family plan, I am referring to any relative who can play by car, or who has had a few lessons, etc. Why must you honor that member of the family and place him in the position of setting the entire tone for your wedding ceremony? Is it because you’re using this area of the ceremony to cut financial corners? Or again, just because Aunt Suzie has a rather pleasant voice, do you think she is trained enough to sing alone, in front of many people, enunciate words so that they are intelligible, have enough breath control in spite of her nervousness to sing one complete phrase without gasping for air, and in general, enhance this festive atmosphere? The role of music at a wedding is of utmost importance. There is more music than there is speaking, and that music can either elevate or degrade the entire ceremony. A kiss held embarrassingly long will cast a distasteful shadow upon the whole occasion, so a solo or organ music, poorly performed will defy any aura of majesty.
Therefore the third guideline: engage competent musicians. Ask them for suggestions, heed their advice, and pay adequately for their services.
Processional music seems to be the greatest problem as to choice for the prospective bride. There are still a few people who feel that they aren’t really married unless they have had Lohengrin’s “Wedding March.” May I suggest that you do a little research on the significance of the “Wedding March” as it occurs in the opera? However, if that doesn’t bother you, wouldn’t it bother you to know that nearly everyone is mentally singing to himself,
Here comes the bride
Fair, far and wide
Here comes the groom
As skinny as a broom
If anything would destroy the solemnity and majesty of the moment, that would!
A general atmosphere of expectation is what is desired in the ceremony from the moment the male attendants enter to the moment when the bride appears. One would think that the best way to create this atmosphere would be to progress in volume from loud to louder to loudest. Have you ever considered doing just the opposite? After the mothers have entered, when all is ready for the ceremony, and before any attendants, male or female, enter; play a trumpet tune. “Trumpet Tune” or “Trumpet Voluntary” by Purcell would be appropriate, or the “Trumpet Dialogue” by Clerambault is also very effective. Then have something very stately, but brilliant in character (“Hymn of Joy” by Gounod) as the music for the men. Then as the bride’s attendants prepare to enter, change to a piece of equal brilliance, but more intricate in texture (“Allegro Maestoso” from The Water Music Suite by Handel). After the girls are in position, there will be complete silence during which the mothers will rise, the attendants will turn and the company will rise. Now the feeling of expectation is complete. At this time, play something soft, solemn, and very simple. “God’s Time Is Best” by J. S. Bach, or “Air” on the G-string by J. S. Bach, or “Andante” from The Water Music Suite by Handel will all hold this mood beautifully; but I like the first suggestion the best, if the bride is willing to wait to come down the aisle until after the introduction.
These, of course, are only suggestions, and there is such a wealth of music available that a listing of possibilities would be impossible. If you, as a prospective bride, work with the musicians and follow the general guidelines listed above, the beauty and solemnity and majesty that you covet will be yours for your Special Day.
Mrs. Wenda De Vries is the wife of Rev. James De Vries, pastor of the Haven Christian Reformed Church, Zeeland, Michigan
