The Wedding March: Catholic Weddings And Music Choices

The Wedding March, written by German composer Felix Mendelssohn, is a popular choice for wedding ceremonies. However, its suitability for Catholic weddings has been a topic of debate due to its literary origins. Mendelssohn originally composed it for Shakespeare's A Midsummer Night's Dream, a play centred on a pagan god and goddess, filled with fairies, magic, and fantasy. Some leaders and musicians within the Roman Catholic Church have deemed it inappropriate for Christian ceremonies. While the Catholic Church discouraged its use within mass weddings in 1971, it can still be played during the processional or recessional under certain circumstances. Ultimately, the decision may depend on the preferences of the couple, the priest's discretion, and the specific guidelines of the Catholic Church.

The Catholic Church's stance on the Wedding March

In 1971, the Catholic Church officially discouraged the use of The Wedding March within mass weddings. However, in recent times, the Church has relaxed its stance, and the piece can still be used during the processional or recessional under certain circumstances. Ultimately, the decision rests with the presiding priest, who has the final say on the appropriateness of the music.

The Wedding March continues to be a popular choice for couples, with many opting for traditional instrumental wedding tunes. However, it is not mandatory, and couples may choose more contemporary music for their wedding ceremony entrance if they prefer.

The Wedding March's literary origins

Felix Mendelssohn's "Wedding March" in C major was written in 1842 as part of a suite of incidental music to accompany Shakespeare's "A Midsummer Night's Dream". The play, filled with fairies, magic, and fantasy, focuses on a pagan god and goddess. Mendelssohn's composition was commissioned by the Prussian monarch Friedrich Wilhelm IV, who wanted to revive the genre of Greek mythology and tragedy in literature and performance.

The "Wedding March" was first used in a wedding in 1847 when Dorothy Carew married Tom Daniel at St Peter's Church, Tiverton, England. However, it was Princess Victoria Adelaide Mary Louise, Queen Victoria's daughter, who made it popular. She chose to walk down the aisle to Mendelssohn's composition when she wed Prince Frederick William of Prussia in 1858. The princess was a fan of Mendelssohn's music, and the composer often played for her when he visited Britain.

Mendelssohn's "Wedding March" is one of the most frequently used wedding marches, usually played on a church pipe organ. However, due to its literary origins, some leaders and musicians, particularly in Roman Catholic churches, have found the piece inappropriate for a Christian religious ceremony.

Appropriate alternatives to the Wedding March

The traditional wedding march, "Wedding March", was composed by Felix Mendelssohn for an 1842 production of Shakespeare's "A Midsummer Night's Dream". The piece focuses on a pagan god and goddess and is filled with fairies, magic, and fantasy. Due to its pagan and fantastic inspirations, some leaders and musicians, particularly in Roman Catholic churches, have found it to be inappropriate for Christian religious ceremonies.

• "Jesu, Joy of Man's Desiring"
• "Where 'Er You Go"
• "The Prayer"
• "All I Ask of You"
• Pachelbel's Canon
• Instrumental version of "Ave Maria"
• "Air" (from Water Music Suite) by George F. Handel
• "Procession of Joy" by Hal Hopson
• "Rigaudon" by Andre Campra
• "Te Deum" by Marc-Antoine Charpentier
• "The Prince of Denmark's March" by Jeremiah Clarke
• "Trumpet Tune" by Henry Purcell
• "Trumpet Voluntary" by Jeremiah Clarke or John Stanley
• "Coronation March for Czar Alexander III" by Peter I. Tchaikovsky
• "Overture" (from Royal Fireworks Music) by George Frederic Handel
• "Promenade" (from Pictures at an Exhibition) by Modest Mussorgsky
• "Romeo and Juliet Love Theme" by Tchaikovsky
• "Sinfonia" (from Cantata No. 156) by Johann S. Bach
• "Toccata" (from L'Orfeo) by Claudio Monteverdi
• "Appalachia Waltz" by Yo-Yo Ma, Edgar Meyer, and Mark O'Connor
• "The Vow" by Jeremy Lubbock
• "Wedding Processional" (from The Sound of Music) by Richard Rodgers and Oscar Hammerstein
• "Canzon V" by Giovanni Gabrieli
• "A Thousand Years" by Christina Perri
• "At Last" by Etta James
• "I Will Always Love You" by Whitney Houston
• "Canon in D" by Johann Pachelbel
• "The Swan" by Camille Saint-Saëns
• "You Are the Best Thing" by Ray LaMontagne
• "Can't Stop the Feeling" by Justin Timberlake
• "Can't Help Falling in Love" by Elvis Presley

The Wedding March's history

The "Wedding March", composed by German composer Felix Mendelssohn, was created in 1842 to accompany Shakespeare's "A Midsummer Night's Dream". However, the first time it was used in a wedding was in 1847 when Dorothy Carew and Tom Daniel wed at St Peter's Church in Tiverton, England. It was performed by organist Samuel Reay.

The "Wedding March" became widely popular when Queen Victoria's daughter, Victoria, selected it for her marriage to Prince Frederick William of Prussia in 1858. The princess processed to the altar to the tune of Wagner's "Bridal Chorus" before the newlywed couple recessed to Mendelssohn's "Wedding March". The princess's love of opera, and of Wagner and Mendelssohn in particular, meant that she decided to set her ceremony to their music.

The "Wedding March" is one of the most frequently used wedding marches, generally being played on a church pipe organ. It is often teamed with Wagner's "Bridal Chorus" from the opera "Lohengrin", or with Jeremiah Clarke's "Prince of Denmark's March", both of which are often played for the entry of the bride.

However, the "Wedding March" has sparked some controversy due to its literary origins. "A Midsummer Night's Dream" focuses on a pagan god and goddess and is filled with fairies, magic, and fantasy. Due to its pagan, fantastic inspirations, some leaders and musicians—particularly in Roman Catholic churches—have found the piece to be inappropriate for a Christian religious ceremony.

The Wedding March's composer

The "Wedding March", also known as "Here Comes the Bride", is a piece of music composed by German composer Felix Mendelssohn. It was originally written as part of an 1842 production of Shakespeare's "A Midsummer Night's Dream" and has since become one of the most frequently used wedding marches, often being played on a church pipe organ. The first known instance of the "Wedding March" being used at a wedding was in 1847 when it was performed by organist Samuel Reay. However, it did not become popular at weddings until 1858 when it was selected by Victoria, The Princess Royal, for her marriage to Prince Frederick William of Prussia. The bride was the daughter of Queen Victoria, who loved Mendelssohn's music, and for whom Mendelssohn often played while visiting Britain.

Mendelssohn's "Wedding March" has sparked some controversy due to its literary origins. "A Midsummer Night's Dream" focuses on a pagan god and goddess and is filled with fairies, magic, and fantasy. Due to its pagan and fantastic inspirations, some leaders and musicians, particularly in Roman Catholic churches, have found the piece inappropriate for Christian religious ceremonies. However, others argue that the original context of the piece is so far removed from its common association with weddings that it is no longer controversial.

Despite the controversy, Mendelssohn's "Wedding March" has become a beloved and enduring tradition at weddings, with couples often pairing it with Wagner's "Bridal Chorus" from his opera "Lohengrin". Whether traditional or modern, the choice of wedding music is ultimately a personal decision that reflects the couple's tastes and preferences.

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