Who Wrote The Wedding March Song?

Felix Mendelssohn, a German composer, wrote the “Wedding March” for an 1842 production of Shakespeare’s A Midsummer Night’s Dream. The piece, which is now known as Here Comes the Bride or the Wedding March, was first used for wedding music at the nuptials of Princess Victoria Adelaide Mary Louise 150 years ago. The piece has sparked controversy due to its literary origins, with some unsubstantiated claims that it was written for the wedding of Bach’s brother, Johann Christoph, on 23 October 1694.

Mendelssohn’s “Wedding March” was composed in C major and was originally part of an 1842 production of Shakespeare’s play A Midsummer Night’s Dream. It became popular for weddings when played on a pipe organ when the bride and groom leave the church. The piece was composed by Mendelssohn and was later composed by Wagner.

The Bridal Chorus (German: Treulich geführt) from the 1850 opera Lohengrin by German composer Richard Wagner, who also wrote the libretto, is a march that traditionally accompanies the entrance or exit of the bride at her wedding. The song “Here Comes the Bride” by Busted, released as a single in 2003, quickly became a chart-topping hit in the UK, captivating fans with its catchy melody and relatable lyrics.

In conclusion, Felix Mendelssohn’s “Wedding March” and Wagner’s Bridal Chorus are two pieces that have weathered debate about their appropriateness for wedding ceremonies, particularly if held in a church setting.

What did Wagner say about Mendelssohn?

No musician was ever more severely criticised than Richard Wagner, and it is equally certain that Wagner spared no opportunity to express his contempt for those who believed in views contrary to his own. Nevertheless, he was not by any means insensible to the greatness of other musicians. Nor was he so deadly in his hatred of Judaism in Music that he failed to appreciate the genius of Mendelssohn. Here is something of what he had to say about Mendelssohns powers as a composer:

Mendelssohn was a landscape painter of the first order, and the Hebrides overture is his masterpiece. Wonderful imagination and delicate feeling are here presented with consummate art. Note the extraordinary beauty of the passage where the oboesrise above the other instruments with a plaintive wail like the winds over the seas. Calm Sea and ProsperousVoyage also is beautiful; and I am very fond of the first movement of the Scotch Symphony. No one can blame a composer for using national melodies when he treats them so artistically as Mendelssohn has done in the Scherzo of this symphony. His second themes, his slow movements generally, where the human element comes in, are weaker. As regards the overture to A Midsummer Nights Dream, it must be taken into account that he wrote it at seventeen, and how finished the form is already!

His views of Schumann were not so lenient. It must be taken into consideration that between the dreamy, self-absorbed Schumann and the forceful, passionate Wagner there was a world of difference. Just the difference, in fact, which made it possible for Schumann to hail Wagner as a genius and to cause Wagner to regard Schumann with the rather pitying condescension which a strong man has for a weaker one.

Schumanns peculiar treatment of the pianoforte grates on my ear; there is too much blur; you cannot produce his pieces unless it be mit obligatem Pedal. What a relief to hear a sonata of Beethovens! In early days I thought more would come of Schumann. His Zeitschrift was brilliant, and his pianoforte works showed great originality. There was much ferment, but also much real power, and many bits are quite unique and perfect. I think highly, too, of many of his songs,, though they are not as great as Schuberts. He took pains with his declamation—no small merit a generation ago. Later on I saw a good deal of him at Dresden; but then already his head was tired, his powers on the wane. He consulted me about his text to Genoveva, which he was arranging from Tiecks and Hebbels plays, yet he would not take my advice—he seemed to fear some trick.

Did Wagner write the wedding march?

If you mean the usual Here comes the bride, all dressed in white song,then, yes, it was written by Wagner. Its from his opera Lohengrin.I dont know if Wagners piece could be considered a march. Perhapsyoure thinking of the piece from Mendelssohns Midsummer Nights Dream,which is called a march, I believe. Its more jubilant than the Wagner,and its often played at the end of weddings.

Dave ========================================================== David Griegel Internet: gri…@quark.umd.edu Nuclear Theory Group Office: 405-6124 Department of Physics Fax: 405-6114 University of Maryland Home: 982-9465 ==========================================================

There are two famous Wedding Marches. The one with Here comes the Brideas an informal title is by Wagner, and was used (in choral form) to provide a recessional to a wedding at the beginning of Act III of Lohengrin. (The wedding is not consummated…)

Is Lohengrin an opera by Liszt?

Synopsis. On todays date in 1850, the Hungarian composer Franz Liszt conducted in Weimar the first performance of “Lohengrin,” a new opera by the German composer Richard Wagner.

Liszt was determined to make Weimar famous, musically-speaking, despite the rather provincial nature of the forces he had at his disposal. For the “Lohengrin” premiere Liszt had to go out and buy a bass-clarinet, since the Court orchestra didnt own one, and he beefed up the number of violins from the usual 11 players to a grand total of 18.

As for the singers, they were hardly world-famous superstars. The title role of Lohengrin was sung by a local tenor named Karl Beck, who had also been a pastry cook in Weimar, and would later return to that profession as a master baker in Vienna. Even so, Liszts unprecedented 46 rehearsals apparently paid off: the premiere of “Lohengrin” was a big success, and helped put both Weimar and Wagner on the map.

Ironically, Wagner himself was unable to attend the premiere of his new opera. He was a wanted man on German soil, having participated in the unsuccessful Dresden uprising of 1849, and there was a warrant out for his arrest on the charge of high treason. Liszt had helped him escape to Switzerland, and while his opera was being staged in Weimar, Wagner himself was at hotel in Lucerne, listening in his imagination, he later told Liszt, as each scene unfolded.

Who wrote the traditional Wedding March?

Felix Mendelssohns A lot less controversial is that of Felix Mendelssohns “Wedding March.” According to an article about the composer by Time magazine, Mendelssohn originally wrote the piece as part of an 1842 production of Shakespeares “A Midsummer Nights Dream.” Mendelssohn ended up dying at the age of 38 in 1847, years before his …

Is the wedding march Wagner or Mendelssohn?

Felix Mendelssohns 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 Shakespeares play A Midsummer Nights Dream. It is one of the most frequently used wedding marches, generally being played on a church pipe organ.

At weddings in many Western countries, this piece is commonly used as a recessional, though frequently stripped of its episodes in this context. It is frequently teamed with the Bridal Chorus from Richard Wagners opera Lohengrin,1 or with Jeremiah Clarkes Prince of Denmarks March,2 both of which are often played for the entry of the bride.

The first known instance of Mendelssohns Wedding March being used at a wedding was when Dorothy Carew wed Tom Daniel at St Peters Church, Tiverton, England, on 2 June 18473 when it was performed by organist Samuel Reay. However, it did not become popular at weddings until it was selected by Victoria, The Princess Royal for her marriage to Prince Frederick William of Prussia on 25 January 1858.1 The bride was the daughter of Queen Victoria, who loved Mendelssohns music and for whom Mendelssohn often played while on his visits to Britain.

Did Fanny Mendelssohn write the wedding march?

In London, hed been knocked down in an accident, couldnt get the piece together in time, never mind get it to Berlin for the ceremony, so Fanny had to write her own wedding march.

The one that Felix would eventually deliver, almost a decade-and-a-half later, came as the result of a royal commission. For the new King of Prussia, Friedrich Wilhelm IV, an entertainment was to be presented – Shakespeares A Midsummer Nights Dream. Mendelssohn was to provide the soundtrack.

Shakespeares frolic – Athenian aristocracy meets fairy royalty, leading to all manner of frolics, with nuptials ensuing – sparked the creation of a suite of music that included what would become one of the most famous wedding tunes.

And this is where a number of threads start to become entwined. Mendelssohn had become a big hit in London. He was giving piano lessons to Prince Albert, the husband of Englands new queen, Victoria.

Where did the wedding march originate?

But neither song was actually composed to be performed at a wedding. Rather, German composer Felix Mendelssohn wrote the “Wedding March” for an 1842 production of Shakespeares A Midsummer Nights Dream, and “Here Comes the Bride” was the Bridal Chorus from Richard Wagners 1850 opera Lohengrin.

It was the 1858 royal wedding that is thought to have started the practice of a “full choral processional from the church entrance to the altar” and playing music as the bride walked up the aisle, “a change from the usual practice of having music only at the reception,” according to Elizabeth Hafkin Plecks Celebrating the Family: Ethnicity, Consumer Culture, and Family Rituals. “A patron of opera who loved Mendelssohn and Wagner, the princess chose the music for her ceremony.”

As still happens at many weddings today — though many couples now choose to branch out, for reasons both personal and political — the Wagner chorus was played as the Princess processed to the altar, and the Mendelssohn march was played as the newlywed couple recessed back up the aisle. Once the royal couple used that music in their ceremony, it caught on more widely.

Who made the wedding song famous?

But theres a wonderful story behind the song noah paul stookey of Peter Paul and Mary wrote it for his his partner Peter of Peter Paul and Mary and Peter was getting married and and Peter said Noah.

Who wrote a famous Wedding March as part of an opera?

“Here Comes The Bride,” or its official name, the “Bridal Chorus,” is part of an 1850 opera called Lohengrin written by Richard Wagner.