I’m going to be playing a wedding this weekend, and as far as I know, it will be the wedding of the year!
Oh, not necesarily because the bride and groom are celebrities… although in my world I guess they are, because I work with them in a professional capacity. And — most likely it will be the only wedding I play this year!
When asked about playing weddings, most organists hate playing them. In fact, I got this answer from Google AI on why organists are generally frustrated with playing weddings:
Unrealistic song requests: Couples often request modern pop songs or sentimental tracks that do not translate well to a pipe organ or fit the instrument’s classical repertoire.
Chronic delays: The wedding party almost always runs late, leaving the organist trapped at the console waiting past their scheduled time.
Low compensation: Playing a wedding consumes hours of rehearsal and event time, but compensation is often minimal or treated as an afterthought.
Disrespect for expertise: Guests and family members frequently treat the professional musician like a background jukebox, asking them to play extra reception music for free.
Logistical chaos: Uncoordinated processions, intrusive photographers, and screaming children near expensive or delicate console equipment add stress to the ceremony.
All of the above is true in “normal” wedding gigs. I would say that in 99.5% of the weddings I’ve played for, the bridal couple has been complete strangers. Remember during the years 1994-2004 I played over 6,000 weddings for Japanese tourists where I had little to no action with the couple. I picked what music I played and that was that.
Well — this weekend’s couple had a very special request. Could I find a recessional by a composer with the same last name as the groom?
Happy to oblige. This is what I found:
One YouTube video described the piece this way:
The piece’s title, which quotes Song of Songs 7:6, identifies it as one of the antiphons for Vespers on feasts of the Blessed Virgin Mary. “Quam pulchra es, et quam decora”. “How beautiful you are” in “Quam decora” is not a question but an exclamation, and in this vein the slowly, sequentially rising thematic motif invokes the unfurling wonder of a vision of beauty from near the bottom of the organ’s range. We hear the theme stated in a lush, full registration, taken up in sequence by a higher voice and then the pedals, working its way up to a colourful climax.
If you haven’t guessed by now, the groom is Mike Dupre, the choirmaster at St. Mark’s Episcopal Church and his bride is Yuko Nakagawa, a soprano in the choir who will soon be my organ student! Uhh… no relation between Mike Dupre and Marcel Dupré! At least, as far as I know!
They had several other requests for the prelude and the entrance processional—and I have to admit I’ve enjoyed learning them —and both are easily adapted to the organ.
The prelude music is composed by Nobuo Uematsu, “Flowers blooming in the church.”
Here’s the processional (which I intend to play much more legato).
The hymns will be “Lo, how a rose e’er blooming,” “Ubi caritas,” and “Land of rest.”
It will all be lovely, and I’m looking forward to it!