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Nuptial Blessings • Practice Videos • Order of Celebrating Matrimony

Richard J. Clark · January 13, 2017

R. JONATHAN GASPAR of the Archdiocese of Boston has kindly recorded the Nuptial Blessings of The Order of Celebrating Matrimony. The new English translation is according to the Second Latin Typical Edition, 1991.

This revised rite has been mandatory for use as of December 30, 2016, the Feast of the Holy Family of Jesus, Mary, and Joseph—a most fitting beginning!

Each Nuptial Blessing is comprised of a short invitation and a prayer. Whether sung or spoken, the rubric calls for silent prayer in between. (For the purposes of these practice recordings, there is simply a quick pause.) After the silent prayer, the chant elevates into a Preface-like reciting tone, marking a distinct transition in the blessing.

The rubrics also indicate the following:

205. In the invitation, if one or both of the spouses will not be receiving Communion, the words in parenthesis are omitted. In the prayer, the words in parenthesis may be omitted if it seems that circumstances suggest it, for example, if the bride and bridegroom are advanced in years.

FR. GASPAR ELOQUENTLY emphasis key words and phrases, underscoring the beauty of the sacrament. Note especially how he sings in Nuptial Blessing A, “May her husband entrust his heart to her, so that, acknowledging her as his equal and his joint heir to the life of grace, he may show her due honor and cherish her always with the love that Christ has for his Church.” I found this to be deeply moving.

Nuptial Blessing A is sung here in a higher key. B and C are in slightly lower keys. A is the longest (4:30). B is much shorter (3:40). C is by far the shortest (2:40):

* * YouTube • Nuptial Blessing A

* * Mp3 Download • Nuptial Blessing A

* * YouTube • Nuptial Blessing B

* * Mp3 Download • Nuptial Blessing B

* * YouTube • Nuptial Blessing C

* * Mp3 Download • Nuptial Blessing C

PLAYLIST:

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

About Richard J. Clark

Richard J. Clark is the Director of Music of the Archdiocese of Boston and the Cathedral of the Holy Cross.—(Read full biography).

22 September 2020 • “Tears of Joy”

A reader wrote to us: “Thank you for the sample verses of Hymn #869 (Solemn Hymn to the Son of God). I found this music posted to YouTube this morning, and I’ve lost count at of the number of times I’ve replayed it and—no exaggeration!—it makes me tear up each time. This lovely hymn makes me feel closer to Jesus in a way I have not experienced before. It also makes me want to proceed with my daily prayers right then and there, rather than run off to the next errand or household task. I could play your traditional hymns and liturgical music all day long!” —(Ann from the Boston area)

—Jeff Ostrowski

Myth Re: Johann Sebastian Bach

Some musicologists try to make a “splash” by saying that Bach was totally forgotten when he died—remembered only as an organ virtuoso—and that his sons were more famous than he was. Such an idea is indefensible. It is true that musical styles changed in 1750AD—but this is normal. Musical styles change constantly; e.g. much of the repertoire of Hofmann and Rachmaninov was considered “garbage” toward the end of their lives. But those who carefully study the lives of Wolfgang Amadeus Mozart, Christian Gottlob Neefe, Franz Liszt, John Field, Hans von Bülow, Felix Mendelssohn, Frédéric Chopin, and countless others realize that Bach was revered. It’s true that his music was seldom played in public, but music by “dead composers” was generally speaking not played in public until approximately the middle of the 19th century.

—Jeff Ostrowski

Arthur Friedheim, Franz Liszt’s Secretary

Arthur Friedheim (d. 1932) has a very poor reputation as a pianist, and Liszt rejected him several times before finally accepting him as a pupil, yet the Liszt recordings he left are quite good—especially considering the transgressions by other Liszt pupils. Friedheim must have been an amazing musician; twice he was asked to become conductor of the New York Philharmonic (1898 + 1911) but he declined both times. Circa 1912, Friedheim was recording Chopin’s “Funeral March” but the record ran out, so he simply stopped in the middle of the piece. Things sure have changed! Pianists no longer stop in the middle of pieces, although Cortot would sometimes abridge pieces to make them fit on records (cf. Chopin’s Andante Spianato & Grande Polonaise Brilliante).

—Jeff Ostrowski