On Friday 29 April 2011, HRH Prince William married Catherine Middleton at Westminster Abbey in a ceremony beamed all over the world.

Here at WMC we were particularly interested to see what music they chose. When the list was revealed, two things struck us in particular:

First, the ceremony music was exclusively British, and included works by composers from England, Scotland, Wales and Northern Ireland. Indeed with just two exceptions (the very first piece played in the build-up to the service and the piece for the departure of HM The Queen at the end of the service), all the pre-ceremony and post-ceremony music was also British. If the choice of music was influenced by the groom’s father, it was surprisingly conservative, Prince Charles having included works by Albinoni and Gretchaninov at his own (second) wedding.

Second, the music was all comparatively modern, with none written prior to the latter part of the 19th century. The couple clearly wanted a strong British theme, but there was no Handel (Zadok the priest?), no Purcell (Trumpet Tune in D?), and no Clarke (Trumpet Voluntary?), nor any works by Arne, Goss, Boyce, Stanley, Blow, Wesley and so on.

In terms of the specific pieces chosen, here are a few thoughts, with some pointers that we hope will help future bridal couples:

Entrance of the bride – I was glad (CHH Parry)

Although the Royals had a choir dozens strong, this wonderfully stirring piece can be performed by a choir of just eight singers – though you would need eight (at least) because the music divides into eight parts at the words “Jerusalem is builded as a city”. Since the piece is rather long, you’ll need to consider the timings carefully too, so as to avoid the bride waiting for an eternity at the back of the church, or the couple waiting for an eternity at the altar! However we liked the idea of using the first part of the piece for the groom to take his place, and will certainly be suggesting this to our clients.

Hymns – Guide me, O thou great redeemer; Love divine; Jerusalem

Three excellent, very traditional hymns which all congregations will enjoy singing (especially when given a great lead by that eight-strong choir you’ve booked for I was glad!). There are fantastic, soaring descants for the first two hymns, and the third certainly benefits from the addition of a trumpeter or two. We agree that Jerusalem is best left as a final hymn, as it’s hard to top – if you put it first or second, there’s a danger that subsequent hymns will sound anti-climactic.

Motet – This is the day which the Lord hath made (J Rutter)

John Rutter’s music is enormously popular at weddings (especially the evergreens Gaelic Blessing and The Lord bless you and keep you) and this new motet is sure to be a hit with bridal couples everywhere, with Rutter’s gift for melody combining with beautifully appropriate words.

Motet – Ubi caritas et amor (P Mealor)

This was an interesting and unusual choice – and the words are absolutely perfect for a wedding (“Wherever love and charity are to be found, God is there”). However there is already a very popular and highly atmospheric setting of these words by the French composer Maurice Duruflé and few (even those in the profession, if they’re being honest) will have come across Paul Mealor’s work before. This has certainly put him on the map.

During the signing of the register – Blest Pair of Sirens (CHH Parry)

This beautiful piece was perhaps too dramatic for the signing of the register. We normally advise that music during the signing should be, whilst not low key, certainly not so vibrant as to detract from the recessional (the exit of the bridal couple), which normally follows straight afterwards. Having chosen a piece such as this, we would have recommended that the couple went for a truly spectacular recessional, using all available forces (choir, orchestra, trumpets). Instead they chose....

Recessional – Crown Imperial (W Walton)

This is a very popular choice at Royal weddings, having been chosen by Prince Charles for his wedding to Diana Spencer, by Prince Andrew and by Prince Edward. However each of them chose this as their second recessional (ie the music that’s played as the congregation leaves), and all chose something with more impact for the exit of the bridal couple themselves.

This piece starts promisingly, with energy and dynamism, but this isn’t sustained for long, such that much of the couple’s exit was accompanied by the beautiful but comparatively quiet and maybe even slightly wistful central tune. Great music certainly, and in keeping with the overall theme of the wedding, but not a recessional that we’d have recommended.

Overall, therefore, we’d give the music 8.5/10 – great performances, with a nice (and totally appropriate) theme running throughout but perhaps let down by the choice of recessional...