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Wedding Guitar at the Old Royal Naval College, Greenwich
Posted on: 21 December 2013
When Jo first contacted me about her wedding on 21 December 2013, I was about to move very close to the Old Royal Naval College in Greenwich. The prospect of playing at such an extraordinary venue practically on my doorstep was an appealing one.
She wanted guitar music as guests arrived, during the ceremony and then for the drinks reception before dinner. Her choices brought together a gentle classical guitar favourite, a film song and a lively Baroque departure—with one further request on behalf of her partner.
A wedding beside the Thames
The Old Royal Naval College has one of London’s most recognisable riverside settings. Its classical buildings and twin domes were designed by Sir Christopher Wren and Nicholas Hawksmoor for the Royal Hospital for Seamen, providing a home for retired and injured naval sailors. Construction began in 1696 and continued for more than fifty years.
The site’s history stretches back further still: the buildings stand on the grounds of the former Greenwich Palace. Generations of royal, maritime and architectural history have shaped the place that wedding guests encounter today.
Against that grand setting, Jo’s musical brief was personal and straightforward. Guests would arrive at four, the ceremony would begin at half past, and the drinks reception would take us through to dinner at a quarter to six.
A slower, classical “Cavatina”
For her entrance, Jo chose Cavatina, familiar to many as the theme from The Deer Hunter.
She had listened closely to my recordings and knew that I also played a flamenco interpretation. For the aisle walk, however, she asked for a more classical, slower version, “so that it’s as romantic as possible”.
It was a helpful distinction. Choosing the title of a piece is only part of choosing wedding music: the way it is played can make just as much difference.
With Cavatina, the melody needs space to sing above the accompaniment. Its apparent simplicity is part of its appeal, although making those flowing phrases sound effortless on the guitar takes care. For a bridal entrance, an unhurried approach allows the music to support the walk without making it feel rushed.
Jo’s request also illustrates why listening to a musician’s own recordings is useful. Different arrangements of the same piece can create quite different moods.
“What a Feeling” and a celebratory exit
For the signing of the register, Jo chose What a Feeling. This time, she was very specific about keeping the arrangement she had heard:
“Exactly how it is played on your website because we love it.”
I particularly enjoy that kind of response. A song associated with a familiar recording can take on another life on solo guitar, and sometimes it is that particular interpretation which catches a couple’s imagination.
The signing provides a little more space to listen than the entrance. Once everyone is seated and the formalities are underway, the guitar can briefly become the focus while the couple complete the paperwork.
For their departure together, Jo chose The Arrival of the Queen of Sheba. Its lively movement offered a cheerful contrast to the gentler entrance music: a way of opening the ceremony out into the celebration that followed.
These were three quite different selections, each chosen for a particular moment rather than to fit one musical genre.
Familiar songs to listen out for
Jo’s description of the music she wanted around the ceremony was one of my favourite parts of the correspondence.
For the arrival of the guests and the drinks reception, she was happy for me to choose popular, recognisable songs. She liked the idea of people standing around chatting, but also “listening out and chatting about your songs”.
That is a lovely brief for a wedding guitarist.
Background music needn’t disappear completely. It can sit comfortably beneath conversation while still offering little moments of recognition. Someone catches a melody, turns to the person beside them and tries to remember its name. Another guest pauses to listen to a favourite song before returning to their conversation.
Solo guitar works well in that setting because the melody can be familiar while the sound is slightly unexpected. Without the original voice or band arrangement, people sometimes recognise a song gradually.
The aim is to give guests something to enjoy at their own pace.
One request before dinner
There was one exception to Jo’s otherwise open brief for the reception: she asked whether the last piece before dinner could be Kiss from a Rose.
“If that one isn’t on your list then no worries,” she wrote, explaining that her partner kept bringing it up.
I replied that I would have a look at it. The surviving emails don’t record the final decision, but the request is a nice glimpse of how wedding repertoires develop. Alongside the carefully selected ceremony pieces, there is often another song that matters to one person and deserves a place in the conversation.
It is always worth asking. A piece does not have to appear on a guitarist’s existing repertoire list to be considered for an arrangement.
A Boxing Day thank-you
On Boxing Day, Jo sent a short message:
“I just wanted to say thank you very much for playing so beautifully at our wedding on Saturday. So many people said they thought you were the best guitarist they had ever heard so thank you very much.”
That was a wonderful message to receive over Christmas.
Looking back through our correspondence, what stands out is how clearly Jo knew the atmosphere she wanted: a romantic entrance, a favourite guitar arrangement during the signing, a lively exit and familiar melodies for guests to enjoy together.
A magnificent Greenwich setting, with music chosen on a much more personal scale.
