Here’s the funny thing. I’ve been keeping an ear out for wedding music for as long as I’ve been listening to classical music, so the feat of selecting the right music wasn’t all that difficult. By the time we’d fixed a wedding date, I already had several musical pieces in the short list, though that list was to both grow as I thought of more possibilities, then shrink later as other considerations stepped in.
My list for Processional included:
- Main Title from The American President, by Marc Shaiman
- The First Kiss from The American President, by Marc Shaiman
- Prelude to Act II from Die Zauberflote, by Mozart
- Main Title from The Patriot, by John Williams
- Larghetto from Piano Concerto No. 2 in F minor, by Chopin
- Romance from Piano Concerto No. 20 in D minor, by Mozart
- Main Title (Excerpt) from Star Trek: First Contact by Jerry Goldsmith
- Ba’Ku Village from Star Trek: Insurrection by Jerry Goldsmith
- I’ll Always Go Back to that Church (Kip’s Lights) from The English Patient by Gabriel Yared
Let’s try a little litmus test first. How many of those pieces in that list is one familiar with? Maybe Kip’s Lights, but the rest of the music isn’t exactly mainstream music.
But I can almost see Ling fainting now. I mean, wasn’t The Patriot that crappy three hour American Independence War epic starring Mel Gibson? And music from Star Trek…??? Isn’t that like a sci-fiction movie for geeks?!
Well, be that as it may. But the music by the late Jerry Goldsmith for these two movies is no joke. They are among some of the most lyrical pieces every written, classical or film soundtrack. The excerpt from First Contact is in F Major, with a majestic and slow march-like melody to it. In contrast, Ba’Ku Village from Insurrection is a lovely piece in B Flat major which begins with the harp, followed by the oboe introducing the melody line, then joined by flute and finally the string ensemble.
- Main Title (Excerpt) from Star Trek: First Contact by Jerry Goldsmith (audio sample)
- Ba’Ku Village from Star Trek: Insurrection by Jerry Goldsmith (audio sample)
The pieces in the list above are also very roughly in two types, depending on the type of processional you want. If you’d like a steady march-like tempo but yet with an uplifting song for the bride’s entrance, the choices could be the gorgeous Main Title from The American President (very catchy melody in E Flat Major), the Excerpt from First Contact, or Mozart’s Prelude from Die Zauberflote, which uses a slower tempo with the central melody played by wind instruments in F major.
If I didn’t have any sort of constraints, my choice for a Processional would be (very easily) the Main Title from The American President. I’ve had for years wanted this piece somewhere in my wedding.
- Main Title from The American President, by Marc Shaiman (audio sample)
- Prelude to Act II from Die Zauberflote, by Mozart (audio sample)
On the other hand, if a gentle piece is more your idea of the Processional, there’s the very romantic First Kiss which begins in E major with a shy but lovely theme on the piano with strings to follow. Or the Larghetto from Chopin’s Piano Concerto, or Kip’s Lights from The English Patient.
- The First Kiss from The American President, by Marc Shaiman (audio sample)
- Larghetto from Piano Concerto No. 2 in F minor, by Chopin (audio sample)
- I’ll Always Go Back to that Church (Kip’s Lights) from The English Patient by Gabriel Yared (audio sample)
The short list above dramatically reduced in size after I started factoring in practical considerations. Among them included the length of aisle in the Wesley Sanctuary, how fast Ling was walking, how fast the flower girls and ring bearers would be walking, whether the music could be cued in and faded out at the right timings, whether I would be able to transcribe the music for Sean and Lok Sze, and whether/when the musical piece itself transposes e.g. into a minor key that would not had been appropriate for a processional.
Of that list, interestingly many failed on two counts: the problems of length, and minor key transposition.
So with these constraints, the choice initially was Kip’s Lights. This is a lovely piece that is heard when Hana and Kip are in the old church, and is performed by selected wind instruments and a string ensemble on melody and plucked. I’ve played the melody line for this piece occasionally at home and just before bible study at Ann’s place, and Ling’s been asking me if I could play for her the entire piece. It’s a simply, simply beautiful piece of music. The other choice was the stately Prelude to Die Zauberflote in F Major by Mozart.
As luck would have it, Ling was able to get Sean, her old disciple-group leader, and Lok Sze, an ex-student, to play during our wedding. She’s blogged about it 2 years ago here. As enchanting as Kip’s Lights is, I couldn’t for my life figure out how to transcribe that piece for piano and violin! So, for the Processional, the music was finally to be: Mozart’s Prelude.
- Prelude to Act II from Die Zauberflote, by Mozart (audio sample)
All things taken into account and postmortem 2 years after the fact, I think the Prelude was the better choice. Music in G major can be a little shrill, and the plucked strings in Kip’s Lights would make it sound as though Ling should be skipping on tip toes down the aisle haha.
The other pieces I chose were Praise My Soul, the Kingdom of Heaven for the opening hymn and the Campra: Rigaudon for the Recessional (audio sample), a piece that Ling jokingly thought was a mite too grand for our very modest wedding. As for the evening gown entrance at the banquet, I chose the Main Title from The Patriot (audio sample). Yea the crappy movie, but Ling absolutely adored the music so that was the vindication for my choice. The title opens with a violin and guitar with a slightly melancholic theme that at the same time sings of discovery:
- Main Title from The Patriot, by John Williams (audio sample)
So there you have it. Maybe I should seek casual employment as Event Music Suggestor. Or is there such a job LOL.:)
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