Richard Wagner thought

Richard Wagner thought of this sub-par requiem as a feature of his 1850 musical drama Lohengrin, and it would have sunk into the indefinite quality it merits had it not been for the way that Queen Victoria’s girl, who was inventively named… Victoria, picked it as her wedding walk (possibly the princess wasn’t anticipating that wedded life should be much fun). Her decision of music for leaving the congregation (Mendelssohn’s “Wedding March”) is extensively more perky, however it sounds more like the backup to a military triumph than a sentimental one.
That is the manner by which everything began, except everything ought to have changed (at any rate for the congregation leaving music) when the Duke of Kent wedded Katharine Worsley in 1961 to the far unrivaled, happy sound of the Toccata by Charles-Marie Widor. The royals have been doing their best in this course from that point onward: Princess Anne in 1973, and Prince Edward in 1999 both picked the Widor Toccata for their weddings. So why are whatever is left of regardless us enduring tunes that sound just as they could have been composed by a six-year-old with a xylophone? Why isn’t Widor’s Toccata gliding out of each congregation consistently? Why hasn’t a jollier tune supplanted the “Marriage March”? I’ll let you know why: it’s a worldwide scheme of lethargic organists! The conventional walks are anything but difficult to play, while Widor’s Toccata is determinedly precarious. Which is the reason, when astute ladies request it, they get pardons like “We lost the music behind a radiator in nineteen seventy-four” or “I would be enchanted to play it yet don’t you discover it somewhat… profane?” So go ahead, ladies—put your foot down and do your bit for music.