NEIL FISHER

Up the aisle
Were I doing it all again, and the aisle was long enough for a three-minute piece, Monteverdi’s Pur ti Muro, the final duet from Poppea.

Signing the register
I’d take the Nocturne (never the wedding march!) from Mendelssohn’s Midsummer Night’s Dream . . .

Recessional. . .
and then exit to a blast of a Rameau gigue (that’s jig).

GEOFF BROWN

Up the aisle
A bustling Brandenburg Concerto finale (Bach).

Signing the register
This period is mostly for the congregation’s benefit, so I’d be happy with some beatific Tudor polyphony, Tallis or Byrd.

Recessional
Not the Widor toccata! Jehan Alain’s Litanies or Messiaen. Grainger’s opulent To a Nordic Princess would be a scholarly choice.

RICHARD MORRISON

Up the aisle
For walking in, Gabrieli Brass Canzonas – joyous yet stately. Or, for the quieter ceremony, Air from Handel’s Water Music – just right for floating down the aisle.

Signing the register
The meditation from Thaïs (but you need a good violinist) or the slow movement from Winter in Vivaldi’s Seasons (ditto).

Recessional
Trumpet Tune and Air (Purcell) if you want grand.

EMMA POMFRET

Up the aisle
Elgar Pomp and Circumstance No 4 . More of a dance than a march – the perfect pace.

Signing the register
Wagner’s Siegfried Idyll. A gentle lullaby.

Recessional
Mendelssohn, Allegro vivace from the Italian Symphony, No 4. It’s a piece you’ll hum on the way to the reception.

JOHN BUNGEY

Up the aisle
Michael Nyman’s Chasing Sheep is Best Left to Shepherds (aka The Draughtsman's Contract).

Signing the register
Tune from Fawlty Towers, Rising Damp and other Dennis Wilson TV theme tunes.

Recessional
Music for a Found Harmonium (Penguin Café Orchestra). All eminently playable by small forces.

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