You know the sound. It’s that immediate, grand "dun-dun-da-dun" that makes every guest in the church stand up and crane their necks toward the back of the room. Most of us just call it "The Wedding March." But here’s the thing—there isn't actually just one. If you’re asking who wrote the wedding march, you’re usually talking about two different guys who lived very different lives and, honestly, probably wouldn't have liked each other much.
Felix Mendelssohn and Richard Wagner. Those are your culprits.
It is kind of wild when you think about it. These two pieces of music, which are now inseparable from the idea of "I do," weren't even written for weddings. They were written for stage plays and operas. They were theater music. Somewhere along the line, high society decided these were the "official" sounds of marriage, and the rest of us just followed suit for the next 150 years.
The Pre-Game: Wagner’s "Bridal Chorus"
Most people use Wagner for the walk down the aisle. You might know it as "Here Comes the Bride." Technically, it’s titled the "Bridal Chorus" from the opera Lohengrin, which premiered in 1850.
Richard Wagner was a polarizing figure, to put it lightly. He was a German composer known for massive, sweeping operas that lasted for hours and required singers with lungs like blacksmith bellows. He was brilliant, sure, but he was also a notorious egoist and a controversial political figure.
In the actual opera, this music isn't exactly the "happily ever after" anthem we treat it as today. It happens at the beginning of act three. The characters, Elsa and Lohengrin, are being led into the bridal chamber. Here is the kicker: the marriage is a total disaster. Within about twenty minutes of this song playing in the opera, the couple is arguing, and by the end of the show, the groom literally hops on a boat pulled by a swan and abandons her forever.
It’s ironic. We use the "swan song" of a doomed fictional marriage to start our own. But the melody? It’s undeniably beautiful. It has that slow, steady pulse that helps a nervous bride keep her pace without sprinting toward the altar.
The Grand Exit: Felix Mendelssohn’s Masterpiece
Then there is the other one. The upbeat, triumphant explosion of trumpets that plays while the couple stalks back down the aisle, grinning and covered in rose petals.
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That is the work of Felix Mendelssohn.
Mendelssohn was a child prodigy. Think Mozart, but with better hair and a bit more Victorian sensibility. He wrote his A Midsummer Night's Dream overture when he was only 17 years old. However, he didn't write the specific "Wedding March" until 1842, when King Frederick William IV of Prussia asked him to write incidental music for a production of Shakespeare’s play.
If you’ve read the play, you know it’s a chaotic mess of fairies, love potions, and a guy who gets his head turned into a donkey. The "Wedding March" occurs during the triple wedding at the end. Unlike Wagner’s doomed couple, Mendelssohn’s music was written for a moment of actual celebration and resolution. It’s pure, unadulterated joy in C Major.
How These Songs Actually Became Popular
Music doesn't just become a global standard by accident. It needs a "viral" moment. In the 19th century, that meant a Royal Wedding.
Enter Princess Victoria (the eldest daughter of Queen Victoria).
When she married Frederick William of Prussia in 1858, she was a bit of a trendsetter. She loved music. She specifically chose Wagner for her entrance and Mendelssohn for her exit. Because it was the British Royal Family, every newspaper covered it. Every wealthy family in London—and eventually New York and Paris—wanted to mimic the Princess.
Before this, wedding music was a bit of a free-for-all. People played whatever the local organist knew, or maybe just some hymns. But after 1858, the "Wagner-Mendelssohn Sandwich" became the industry standard.
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The Drama You Didn’t Know About
There is a bit of a dark side to who wrote the wedding march, specifically regarding the relationship (or lack thereof) between these two men.
Mendelssohn was Jewish by descent, though he was raised as a Reformed Christian. Wagner, on the other hand, was famously and virulently anti-Semitic. He even wrote an essay called Das Judenthum in der Musik (Jewishness in Music) where he attacked Mendelssohn’s work, claiming it was "sweet and tinkling" but lacked soul.
It is a strange quirk of history that their music is now permanently joined together. Every weekend, thousands of times across the globe, a Wagner piece is followed an hour later by a Mendelssohn piece. They are roommates in the "Wedding Hall of Fame" whether Wagner would have liked it or not.
Why Some Churches Actually Ban the Music
Believe it or not, there are some places where you aren't allowed to play these songs.
Some Roman Catholic dioceses and conservative Lutheran churches have, at various points, discouraged or outright banned the "Bridal Chorus." Their reasoning is twofold. First, they argue that the music is "secular"—it comes from the theater, not the church. They’d rather you use a hymn like "Joyful, Joyful We Adore Thee."
Second, some people find Wagner’s personal history or the context of the opera (the failed marriage) to be inappropriate for a sacred ceremony. If you’re planning a wedding, it’s always worth checking with the cantor or the organist before you print the programs. You don't want to get into a theological debate over 19th-century German opera three days before your rehearsal.
Other Contenders You Might Hear
While Wagner and Mendelssohn have the monopoly, a few other composers are in the mix. If you go to a wedding and you don't hear the "dun-dun-da-dun," you’re probably hearing one of these:
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- Jeremiah Clarke: He wrote "Prince of Denmark's March" (often incorrectly attributed to Purcell). It’s that very "royal" sounding trumpet tune.
- Johann Pachelbel: The "Canon in D." Honestly, this is probably more popular than Wagner for the entrance these days. It’s mellow. It’s pretty. It’s also a nightmare for cellists who have to play the same eight notes for six minutes straight.
- Johann Sebastian Bach: "Jesu, Joy of Man's Desiring" is the go-to for people who want something that feels more "churchy" and less "theatrical."
Identifying the Songs by Ear
It’s easy to get them confused if you aren't a music nerd.
The Wagner (The Entrance):
Think of the rhythm. It’s a bit more somber. It’s a processional. It’s designed for a slow walk. It feels heavy and significant. If it sounds like a royal decree is about to be read, it’s Wagner.
The Mendelssohn (The Exit):
This one starts with a literal fanfare. Trumpets. It’s fast. You can’t really "walk" to it; you almost have to strut. It’s the sound of "we did it, let’s go get a drink."
Action Steps for Your Own Wedding Music
If you are currently picking out music and trying to decide if these classic marches are right for you, don't just pick them because they are the "default."
- Listen to the full versions. Don't just listen to the first ten seconds. The Mendelssohn march, in particular, has some beautiful middle sections that most people never hear because the couple is already out the door.
- Check the acoustics. Wagner sounds great on a pipe organ but can sound a little "tinny" on a cheap electric keyboard. If you’re outdoors, a string quartet might be a better fit for Mendelssohn.
- Consider the vibe. If your wedding is a casual beach affair, Mendelssohn’s "Wedding March" might feel a bit too stiff and formal.
- Talk to your musician. Most professional wedding organists have played these songs thousands of times. They can tell you exactly how to time your walk so you don't reach the altar while the music is still in the "intro" phase.
Ultimately, who wrote the wedding march matters less than how the music makes you feel when the doors open. Whether it’s Wagner’s operatic drama or Mendelssohn’s Shakespearean joy, you’re stepping into a tradition that has survived world wars, cultural shifts, and the invention of the "Electric Slide."
If you want to go deeper into the history of these composers, look for biographies of Felix Mendelssohn by R. Larry Todd or delve into the complex world of Wagner’s Ring Cycle. Just be prepared—once you start learning about these guys, you’ll never hear a wedding ceremony the same way again.
Final Practical Tips
- Timing is everything. Tell your coordinator to cue the music before you start walking. There’s a dramatic swell in both pieces that you want to catch.
- Respect the venue. If you’re in a historic cathedral, go with the classics. They were built for that reverb.
- Mix it up. There is no rule saying you have to use both. Plenty of people use Pachelbel for the entrance and Mendelssohn for the exit. It’s your day; the 19th-century Germans won't mind.
Next Steps for Your Planning:
- Download high-quality recordings of both the Bridal Chorus and the Wedding March to hear the difference between a full orchestra and a solo organ.
- Consult with your venue's music director to see if there are any "blacklisted" secular pieces before you finalize your ceremony script.