January 25, 2017
Felix Mendelssohn, the Wedding March

“On the third day there was a wedding in Cana of Galilee, and the mother of Jesus was there. Jesus and his disciples had also been invited to the wedding. When the wine gave out, the mother of Jesus said to him, “They have no wine.” And Jesus said to her, “Woman, what concern is that to you and to me? My hour has not yet come.” His mother said to the servants, “Do whatever he tells you.” Now standing there were six stone water jars for the Jewish rites of purification, each holding twenty or thirty gallons. Jesus said to them, “Fill the jars with water.” And they filled them up to the brim. He said to them, “Now draw some out, and take it to the chief steward.” So they took it. When the steward tasted the water that had become wine, and did not know where it came from (though the servants who had drawn the water knew), the steward called the bridegroom and said to him, “Everyone serves the good wine first, and then the inferior wine after the guests have become drunk. But you have kept the good wine until now.” Jesus did this, the first of his signs, in Cana of Galilee, and revealed his glory; and his disciples believed in him. After this he went down to Capernaum with his mother, his brothers, and his disciples; and they remained there a few days.” John 2:1-12

On this date, January 25, 1858, Mendelssohn’s “Wedding March” was first played at the wedding of Queen Victoria’s daughter Princess Victoria, to crown prince of Prussia. This piece, written by Felix Mendelssohn’s “Wedding March” in C major, written in 1842, is one of the best known of the pieces from his suite of incidental music (Op. 61) to Shakespeare’s play A Midsummer Night’s Dream. It is one of the most frequently used pieces of wedding music, generally being played on a church organ.

It is also one of the most reviled wedding pieces for many organists and pastors today. It is a great piece of music, but it has been over done – in so many weddings, for so many years. And with the plethora of music that is available and appropriate for weddings today, there is no reason to use the “Wedding March” often. And yet, we know it will be played in many weddings each and every year. So, the next time you are at a wedding, and the organist begins to play the “Wedding March”, ask not what Mendelssohn can do for you, but ask what you can do to stop the use of Mendelssohn in weddings in the future. If you do, you will be doing each and every pastor and organist a great service, and little by little bury the “Wedding March” once and for all.

(Please, the above lines were written with this cranky reverend’s tongue firmly placed against his teeth, and is meant for the enjoyment of all those who have been unduly hurt from over-exposure to the “Wedding March”.)

Pastor Dave