Deborah Chan
The Wedding March, also known as Here Comes the Bride, is a popular choice for bridal entrance songs. However, some religious leaders, particularly in Roman Catholic churches, consider the piece inappropriate for Christian ceremonies. The song, which was originally from Wagner's opera Lohengrin, was played after the doomed marriage of Elsa and Lohengrin as Elsa walked to the bridal suite. Despite this, some Catholic priests have allowed the piece to be played at weddings, and it was even played at a royal wedding in 1858, normalising the inclusion of music during the ceremony rather than just at the reception.
| Characteristics | Values |
|---|---|
| Religious leaders find the piece inappropriate for Christian ceremonies | Roman Catholic churches |
| The piece is also known as | 'Bridal Chorus' or 'Here Comes the Bride' |
| The piece originates from | Wagner's opera Lohengrin |
| The piece is played | after the doomed marriage of Elsa and Lohengrin as Elsa walks to the bridal suite |
| The piece was chosen by | Princess Victoria Adelaide Mary Louise, the oldest child of Queen Victoria, for her wedding in 1858 |
| The piece is | a classic |
| The piece is | commonly used as exit music (recessional) |
| The piece is | associated with church |
| The piece is | not refused by musicians because of other non-liturgical music that has been permitted into the Liturgy |
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What You'll Learn
- Mendelssohn's Wedding March is considered inappropriate for Catholic weddings
- Wagner's Bridal Chorus is considered inappropriate for Catholic weddings
- The role of the pastor in deciding music for Catholic weddings
- The association of the Wedding March with church weddings
- The use of non-liturgical music in Catholic wedding liturgies
Mendelssohn's Wedding March is considered inappropriate for Catholic weddings
The "Wedding March" by Felix Mendelssohn is a popular piece of music that has been used in wedding ceremonies, particularly as exit music (recessional) when the newlyweds walk out after the ceremony. It is considered a classic and a traditional choice for many couples. However, in the context of Catholic weddings, the use of Mendelssohn's "Wedding March" is a subject of debate and is sometimes considered inappropriate.
The piece originates from Mendelssohn's incidental music for Shakespeare's play "A Midsummer Night's Dream", which focuses on a pagan god and goddess and includes elements of fantasy, magic, and fairies. Due to these pagan and fantastic inspirations, some religious leaders, particularly in Roman Catholic churches, have deemed the "Wedding March" unsuitable for Christian ceremonies. They believe that the music's association with paganism conflicts with the religious nature of Catholic weddings.
In Catholic weddings, the choice of wedding music often requires the approval of the pastor or priest. While some priests have suggested using the "Wedding March" in Catholic wedding ceremonies, others have expressed discomfort with the idea. Some organists have played the piece at Catholic weddings, but they acknowledge that it is not their preferred choice and that they try to discourage it.
The appropriateness of the "Wedding March" in Catholic weddings is further complicated by the fact that it is not exclusively associated with weddings. The piece has been used in various cultural and religious contexts, and its usage is not limited to announcing the bride's entrance. Therefore, while the "Wedding March" is considered a traditional wedding song by many, its selection for Catholic weddings may be questioned or discouraged by religious leaders and musicians.
Despite the controversy, the decision to include the "Wedding March" in a Catholic wedding ultimately rests with the couple and the discretion of the pastor or priest. Some couples may have an emotional connection to the song, perhaps due to family traditions or personal preferences, and may request it for their special day. In such cases, the pastor's approval is necessary, and the couple may need to discuss their choice with the priest to gain their consent.
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Wagner's Bridal Chorus is considered inappropriate for Catholic weddings
The "Bridal Chorus", commonly known as "Here Comes the Bride", is a popular choice for brides' entrance songs at weddings. The piece, composed by Richard Wagner, is from the opera "Lohengrin", where it is played after the doomed marriage of Elsa and Lohengrin as Elsa walks to the bridal suite.
Despite its popularity, Wagner's "Bridal Chorus" is considered inappropriate for Catholic weddings. This is due to the piece's less cheerful role in the opera it originated from, as well as its pagan and fantastic inspirations. In the opera "Lohengrin", the "Bridal Chorus" is played after a doomed marriage, which is not exactly a cheerful association for a wedding. Additionally, the piece's inspiration from pagan gods and goddesses, filled with fairies, magic, and fantasy, may be considered inappropriate for a Christian religious ceremony by some leaders and musicians, particularly in Roman Catholic churches.
The decision to use Wagner's "Bridal Chorus" in a Catholic wedding ultimately lies with the couple and the pastor's approval. While some may find the piece inappropriate due to its associations with a doomed marriage and pagan influences, others may not be familiar with the origins of the music and simply enjoy the melody. As wedding music is often chosen based on personal preferences and sentimental value, some couples may opt for the "Bridal Chorus" without realizing its original context in Wagner's opera.
It is worth noting that the "Bridal Chorus" has been used in notable weddings, such as the royal wedding of Princess Victoria Adelaide Mary Louise and Frederick William IV of Prussia in 1858. This wedding is also credited with introducing music to the wedding ceremony, as prior to this, music was generally only played at the wedding reception.
While Wagner's "Bridal Chorus" may be a popular and well-known choice for weddings, its appropriateness for Catholic ceremonies is debated due to its contrasting associations and inspirations. Ultimately, the decision to include it in a Catholic wedding lies with the couple and the discretion of the pastor.
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The role of the pastor in deciding music for Catholic weddings
The role of the pastor in deciding the music for Catholic weddings is an important one. While couples may have their own preferences and requests, it is ultimately the pastor who has the final say on what music will be allowed. This is especially true when it comes to more traditional or controversial pieces, such as Mendelssohn's "Wedding March" or Wagner's "Bridal Chorus," also known as "Here Comes the Bride."
In Catholic weddings, the pastor's decision-making power serves as a "trump card" in selecting the musical repertoire. This authority extends to both the wedding ceremony and the Mass, with pastors often having strong opinions on the suitability of certain pieces. For example, some pastors may find certain songs too closely associated with non-Christian themes, such as paganism or fantasy, deeming them inappropriate for a Catholic wedding.
Pastors may also consider the liturgical value of the music. They might discourage the use of non-liturgical music or, conversely, suggest specific liturgical pieces that align with the sacred nature of the ceremony. In some cases, pastors might even ban certain songs, providing clear guidelines for the couple and the musicians involved. This can be a tricky situation for the couple, who may have their hearts set on a particular song, only to find that their pastor does not approve.
However, it is worth noting that pastors are not always strictly opposed to popular wedding songs. Some may be more flexible, allowing couples to choose from a list of approved selections that still respect the religious nature of the ceremony. Additionally, there is an understanding that certain songs have become traditional wedding staples, and pastors may be willing to permit these, even if they are not personally fond of them. Ultimately, the pastor's role is to guide the couple in selecting music that upholds the sanctity of the wedding while also respecting their personal preferences as much as possible.
In conclusion, the pastor plays a pivotal role in deciding the music for Catholic weddings. Their decisions are guided by a desire to maintain the solemnity and liturgical integrity of the ceremony while also accommodating the couple's wishes. While this can sometimes lead to disagreements, the pastor's authority ensures that the music chosen aligns with the values and traditions of the Catholic Church.
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The association of the Wedding March with church weddings
The "Wedding March", composed by Felix Mendelssohn, is a popular piece of music often associated with weddings and used during wedding ceremonies. It is commonly used as exit music when the newlywed couple recesses out of the ceremony, while the "Bridal Chorus" by Richard Wagner is often played as the processional when the bride walks down the aisle.
The "Wedding March" is considered by some to be a traditional piece of wedding music, with some couples choosing to use it for their weddings due to its association with the occasion. However, the piece has also been deemed controversial and inappropriate for Christian ceremonies, particularly by religious leaders in Roman Catholic churches. This controversy stems from the music's origins in Shakespeare's play "A Midsummer Night's Dream", which focuses on a pagan god and goddess and features fairies, magic, and fantasy.
Despite the association of the "Wedding March" with church weddings, some individuals express negative opinions about its use. In the context of Catholic weddings, some consider it tacky and prefer other musical choices. Others actively discourage its use due to its pagan inspirations, deeming it unsuitable for a Christian religious ceremony.
The decision to include the "Wedding March" in a Catholic wedding ultimately rests with the pastor's approval. Some couples opt for alternative pieces, such as the Dance movement from Prokofiev's Romeo and Juliet, Schubert's "Ave Maria", or the Trumpet Voluntary.
While the "Wedding March" is a well-known and traditional choice for weddings, its use is not universal, and couples may choose to forgo it in favour of other musical selections that hold special meaning for them.
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The use of non-liturgical music in Catholic wedding liturgies
The inclusion of non-liturgical music in Catholic wedding liturgies has been a topic of discussion and debate. One of the most well-known examples is the use of the "Wedding March" by Felix Mendelssohn, which is often used as exit music or recessional in weddings. While some find it beautiful and traditional, others consider it "tacky" and inappropriate for a Catholic wedding Mass. The decision to allow non-liturgical music, such as the "Wedding March," often rests with the pastor or priest conducting the ceremony.
Another popular piece of non-liturgical wedding music is Richard Wagner's "Bridal Chorus" from his opera "Lohengrin," commonly known as "Here Comes the Bride." This piece is usually used during the processional, as the bride enters. However, in the opera, it is played after a doomed marriage, which some religious leaders, particularly in Roman Catholic churches, consider inappropriate for Christian ceremonies.
In addition to the "Wedding March" and "Bridal Chorus," other non-liturgical music has been permitted in Catholic wedding liturgies over the years. Couples often choose music that is special to them or that has been used in their families for generations. For example, some couples opt for instrumental versions of songs like Canon in D, played on acoustic guitar or piano, to add a unique touch to traditional wedding music.
While the inclusion of non-liturgical music in Catholic weddings is ultimately at the discretion of the pastor or priest, it is essential to consider the appropriateness and meaning of the music within the context of a Catholic wedding liturgy. Couples should research and select music that aligns with the sacred nature of the ceremony and is respectful of the religious setting.
To conclude, the use of non-liturgical music in Catholic wedding liturgies is a matter of personal preference, pastoral discretion, and the desire to incorporate meaningful or traditional songs into the ceremony. While some non-liturgical music, such as the "Wedding March" and "Bridal Chorus," may be commonly associated with weddings, it is essential to consider their origin and potential religious implications when selecting music for a Catholic wedding liturgy.
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Frequently asked questions
The decision to play the Wedding March at Catholic weddings is often left to the couple's priest or pastor, who may disapprove of the song due to its association with non-Christian themes like fantasy, murder, and sex.
The Wedding March, or "Here Comes the Bride," is a song often played during the recessional at weddings. It was composed by Felix Mendelssohn for Shakespeare's play, A Midsummer Night's Dream.
The Wedding March gained popularity as a wedding song after Princess Victoria Adelaide Mary Louise chose it for her wedding to Frederick William IV of Prussia in 1858.
Some alternatives to the Wedding March that are often played at Catholic weddings include Canon in D, Trumpet Voluntary, and Widor.
Other controversial wedding songs include Richard Wagner's "Bridal Chorus" from Lohengrin and Schubert's "Ave Maria."
