R$50
The Wedding March – Felix Mendelssohn
Work: A Midsummer Night's Dream, Op. 61 – No. 9, Wedding March
Composer: Felix Mendelssohn (1809–1847)
Key: C major
Time signature: 4/4
Arrangement: Advanced Cello 1 + optional Cello 2 + Piano
Performance options: Cello 1 + Piano / Cello 1 + Cello 2 + Piano
Arranger / Edition: Maiko Thomé de Araujo
Source basis: prepared with direct reference to Mendelssohn's original orchestral score
Level: Advanced
Cello 1 range / technique: reaches high C on the A string in 8th position; requires confident position shifts and upper-register intonation
Period: Romantic – 19th century
Region / Culture: German
Type: Wedding march / ceremonial classical music
Special features: complete original-based arrangement, optional second cello, written piano accompaniment, preserved articulations, chord symbols, full score and performance parts, reference MP3
Format: Digital download (PDF + MP3) — 2 files
Musical material: 7 useful pages — 3-page full score + 2-page cello score + 2-page piano part
Felix Mendelssohn's “Wedding March” is one of the most recognizable ceremonial works in classical music. It comes from the incidental music for Shakespeare's A Midsummer Night's Dream, Op. 61, where the Wedding March appears as No. 9.
Its brilliant fanfare-like opening, strong rhythmic profile and festive melodic writing have made it closely associated with weddings and ceremonial occasions around the world.
Although frequently encountered today in piano, organ and simplified instrumental arrangements, the original work is orchestral and contains considerably more detail in its voicing, articulation, harmonic movement and internal musical lines.
This expanded edition by Maiko Thomé de Araujo was prepared with direct reference to Mendelssohn's original orchestral score, with the goal of creating a more complete chamber version rather than relying on the shortened, simplified or extended adaptations commonly found for individual instruments.
The arrangement follows the structure and characteristic musical material of the original more closely, retaining its important articulations, secondary voices, harmonic movement and contrasting sections while adapting them naturally to the new instrumentation.
Subtle interpretive adjustments are intentionally left to the cellists and pianist, allowing the performers to adapt details of articulation, balance and phrasing to their instruments and performance context without losing the character of the original score.
A particularly useful feature of this edition is its flexible instrumentation.
It can be performed as:
Cello 1 + Piano
or as the fuller:
Cello 1 + Cello 2 + Piano
The Cello 2 part adds an independent complementary voice, enriching the texture and bringing more of the orchestral interaction into the chamber arrangement.
However, the piano writing also incorporates complementary harmonic and secondary material. This allows the piece to remain musically complete and convincing when only one cellist and pianist are available.
The same edition can therefore serve both a cello-and-piano duo and a larger three-player formation without requiring a separate arrangement.
Cello 1 retains the striking high-register approach of the previous advanced edition.
The part reaches high C on the A string in 8th position, bringing the cello unusually close to the brilliant register associated with the familiar violin presentation of the melody — only one octave lower.
This creates a particularly projecting, brilliant and sonorous result, avoiding the much darker effect that occurs when the entire Wedding March is simply transferred to a conventional lower cello register.
The technical demands are consequently substantial, especially in large position shifts, accurate upper-position landings and high-register intonation.
The piano is more than a simple chordal accompaniment. Its part helps reproduce the harmonic weight, rhythmic energy and complementary voices of the orchestral texture.
With two cellos, the three musicians can distribute more of the original musical material between independent lines. With one cello, the piano provides enough of this complementary texture to sustain a complete performance.
Chord symbols are also retained in the score as a useful additional harmonic reference.
For Cello 1, practice the larger position shifts separately before placing them back into tempo, particularly the arrivals in the upper A-string register. The high notes should remain resonant rather than forced. In ensemble performance, keep the triplet figures precise and energetic while allowing the broader melodic gestures to project naturally. The piano and Cello 2 should support the brilliance of Cello 1 without making the texture heavy; clear articulation and careful balance are more effective than excessive volume.
Especially recommended for advanced cellists, cello-and-piano recitals, two-cello chamber performances, weddings and ceremonies, classical crossover programs and musicians looking for a more complete alternative to simplified Wedding March arrangements. It is also valuable for developing upper-register cello technique, ensemble balance, position shifts and chamber coordination.