It may be that all of us have a few weddings in our memories that stand out because they were a pleasure or a pain.
Today I played for my first Viet-Namese wedding at St Basil's Chapel, UST, Houston. The young couple, recent graduates, were a delight to meet with and there were no surprises - except by the bride's father at the end of the service (no mass) - which I will tell about down below.
The service was a mixture of English and Viet-Namese. It was interesting that the responses to the Viet-Namese portion were sung, whereas the English ones were spoken. Their language, though, is beautiful and has a very characteristic rhythmic flow, an almost regular pulse.
Prelude music was an Anonymous English trumpet voluntary, three selections from Couperin's parish mass, an anonymous English echo voluntary, and an improvisation on the Veni Creator. The Processional music was J. Clarke's prince of Denmark's march, plus improvised trumpetings for the bride. The Psalm Responsory, which I sang, was improvised chant, different for each verse. The Alleluya Verse was improvised chant. Ave Maria, the mode i chant was sung by me as the couple left flowers at the feet of the very large Seat of Wisdom statue. The Recessional music was Biggs' arrangement of a movement from Soler's D-Major sonata for two organs which he dubbed 'The Emperor's Fanfare'.
Liturgically this was not anywhere near noteworthy, but as an inter-cultural experience and all the good music it was pleasurable. What really made it a very surprisingly different experience, though, was that at the end of the service the bride's father ascended the ambo to say some nice things about his daughter and her husband, then he turned toward me and thanked me for the music. I sort of nodded with a smile - but he kept on talking about how beautiful the music was and how grateful he was that his family had such beautiful music for their wedding... he must have talked in this way for at least half a minute. I dare say that this was gladdening and that few, if any, of my colleagues here have been so demonstrably appreciated. As liturgical faux pas go, this one was sort of nice - considering that the rest of the service was rather 'informal'.
I've had a few other outstanding weddings, one or two unfortunate ones, and many just average ones, which I may speak on later, but this one today was a unique experience.
My home parish is used by the local Vietnamese Parish and at the occasional joint Mass (usually Confirmation) or when they pray before Mass, it's beautiful hearing them speak or chant in Vietnamese.
The Vietnamese are good people. They met at one local parish for years, then formed a parish of their own with a Vietnamese priest. I taught some of their children before I retired and made many friends among the students and parents.
Don't get me started on weddings LOL. I HATE them and contract them out to another organist who needs the money.
It is a true shame that I, also, cannot stomach to be involved in weddings and funerals as they are "thrown" to the family for dictating the particulars. These should be the most special times of excellent (and authentic) sacred music as these are once in a lifetime liturgical moments, and it winds up being a free for all. It is a scandal and needs to be reigned in. If I may be so bold, this is part of the smoke of satan.
Thank God, that in my most recent post as Choirmaster/Organist, I had a pastor who would not allow any abuse to the liturgy in music or otherwise. We always chanted one of the Latin Ordinaries, and even the Entrance Proper instead of a march for weddings. He took a lot of heat for that, but he was the best. God bless you Father! It was a delight working for you.
Just over a week ago I led a family-schola (SS(A)B) myself, sister, brother-in-law) for my sister's EF Nuptial Mass. It was lovely, and was very nice to not have to worry about odd P&W music since it wouldn't be in English.
There were certain things that she "had" to have, but I enjoyed helping her fill in the blanks. It was a beautiful Mass/wedding - if I do say so, myself.
Her program was as follows:
Seating of Mothers: Pachelbel: Canon
Procession of: Priests and Servers Grancini: Dulcis Christe Attendants Bach: Jesu, Joy of Man's Desiring Bride Purcell: Trumpet Tune
Full Gregorian Nuptial Propers ('61 LU) (Introit: Bass incipit/verse, Gradual: Soprano incipit/verse, Alleluia: other Soprano incipit/verse) Ordinary: Missa de Angelis
Additional Offertory Music: Lorenc: Ave Maria (oboe solo+organ), Veni Creator Spiritus ("solo" chant verses + unison "Amen") Additional Communion Music: Menegali: Jesu, Salvator Mundi (See CPDL SAB version), Franck: Panis Angelicus (soprano duet)
Marian Devotion: Schubert: Ave Maria (they actually knelt and prayed through the full piece, arriving back at the altar as the organ played the final measure!)
Recessional: Handel: Allegro Maestoso from Water Music
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