DIY Weddings are Easy When . . .

. . . you have a world of friendly resources at your beck and call. So, technically, it’s not DIY at all of course but rather Così fan tutte. [Ed: roughly translated, ‘Everybody’s doing it’.] It’s not, even then, for the faint of heart, because let’s face it, unless you’re having the always admirable super short, informal adventure of standing in front of a Justice of the Peace or of surprising your immediate family in the middle of dessert one weekend with a five-minute ceremony, there are a host of details that might need to be given eventual consideration. Beyond simply making sure that the two people who are getting married actually show up at the same time in the same place, there are a handful of legal elements that generally should be taken care of before the event, if it’s to have any official standing. And from there, the possibilities expand exponentially. I suppose it’s not wholly shocking that the process might lead to the development of a few dysfunctional bumps and bruises among family, friends and support staff along the way.photoBut I hate confrontation and stress, and the very idea of becoming such a parody-inspiring Marriage Monster appalls me. And when we decided to marry, I don’t doubt it occurred to me that my intended, Richard, might equally abhor the idea of a painful process and wedding day. So we were both very happy to treat the whole thing something like an elaborate concert performance, perhaps a cheery semi-staged operetta, and to act as artistic directors and performers, yes, but also to let a great slew of friends, relatives and acquaintances carry out as much of the heavy lifting as possible along the way. After all, though we intended to have a good time and hoped everyone else would too, the real point of the occasion was that at the end of the day we would be more married than we were at the beginning of it.

Being a visual artist, I had no shortage of ideas about how I wanted various things to look, from invitations and service bulletins and guest books to the floral arrangements, wedding party dress and church decor, to the tables and food at the reception. And I had pretty extravagant ideas, at that. But I didn’t have a huge quantity of money to invest in it (nor did my parents) and I deeply dislike the idea of spending ghastly sums on a single event that, while important and hopefully happily memorable, is still only one actual day of life. What, I should spend my life savings on a single party?

That’s where one’s personal fortune in community has so much more than monetary value, though I’ll readily grant you that ours, in sharing their talents and efforts with us for the occasion, saved us a ton of money. We married in the church across the street from the university where we both worked, since not only were we members there but it was so handily located for so many of our friends, students and colleagues who were also part of the university community. I had a fairly easy time imagining how to use and decorate the church, since a few years previously, I’d served on the committee that oversaw a massive renovation of the space, taking part in all elements of the design from seating arrangement to finishes, and designing the new altar, font, pulpit, rail, crosses and incidental furnishings that were built for it.photoSo I opted to fill the space with a different kind of design, making a couple dozen banners to hang on walls, fly from the light boxes in the ceilings, display on stands in the narthex and chancel, and be carried in procession by fine young friends strolling in en route (to light candles) and out (to the reception hall) along with the wedding party. Already a banner maker for church and event commissions, I had lots of material and experience, so I sewed, painted and otherwise assembled the banners myself (from the flying ones at about 36 inches in length to the main chancel banner that was about 26 feet), and I got good help with putting together the stands and hanging mechanisms and installing them all at the last minute when we could get into the nave to do the work.photo montageThat’s a constant with weddings and parties in all sorts of venues other than Home: no access for prep and installation and other setup work until the last minute. So because I am a control freak, a design nut and also someone who really wanted to just have fun and enjoy my actual wedding day, I plotted and planned and prepped everything I could, along with my Intended and a slew of family, friends and other helpful conspirators. First, of course, it was essential to get all the actors on board and ‘synchronize our watches’, since it’s a busy crew and driven by a multitude of crazy calendar iterations. Once that was established, the work of service and reception planning commenced.

The earliest necessity, since I didn’t want predictable or expensive floral arrangements but love flowers, was to plant and tend flowers in Mom’s garden and that of our good friend Claudia, next door to her. By the time our July wedding rolled around, I had gathered the ribbon and wire and other essentials and been offered by the lovely Linda, a friend who was chief florist for the university’s official events, that if I handed over the materials she would provide us with her gorgeous bouquets and boutonnieres and corsages for all and sundry, so all I needed to do at the last minute was go a-gathering in their yards with my two beloved garden-gnome ladies and then give buckets full of fresh beauty to Linda on the day.

Meanwhile, much brainstorming and list-making was underway with the able assistance of others, so that everything essential would be pre-arranged too and not worrisome. All of the print materials derived from a combination of my photos of iris leaves, text typeset by one of my sisters in fonts I’d chosen, getting printing done by the local quick printers (with whom I’d done many work projects) on their green ink printing day of the week and then doing all of the black ink stuff on copiers and folding/collating things myself while I was calligraphing the invitation envelopes, closing them with an inexpensive gold seal and a swash of purply interference paint and a rubber stamp message noting that the music would begin a full half hour before the service. We did, after all, know that there would be lots of my fiance’s fellow musicians both participating and attending.

Clergy? That was about the easiest part to decide, since as a cleric’s daughter I could just tap Dad. So the church’s lead pastor presided, Dad officiated, and a sweet retired pastor friend served as lector. Since Dad was robing up for the pastoral gig, I decided to have one of my uncles sashay down the aisle with me, and he kindly acquiesced to my request for an escort. Our organist, our great friend Jim, was also standing up for us, so he did a bit of trotting up and down the aisle, but in great Jim style. As one of four sisters, I had the easiest time choosing three attendants, but it was simple for my groom to line up the perfect support team, too, between his one brother and Jim and another of our close friends who happened to be Richard’s choral conducting partner at the university as well. Friends from various places rounded out the team, serving as greeters, acolytes, and our wonderfully hospitable reception hosts. One of our brothers in law was chief photographer, taking a batch of group wedding party photos just before the church began to fill, and all of the rest of the pictures came from a combination of photos friends sent us and the box full of disposable cameras we’d distributed on the reception tables and collected for development at the end of the day. This proved a serendipity because it both gave us some fun candids from the kids’ point of view and kept some of the younger partiers entertained during the reception as well.

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I designed and made stoles for Dad and the presiding minister, too.

My sisters readily agreed to help pick out simple black dresses they’d actually have a hope of wanting to wear again later, and we managed to find a great deal on them and choose a design that, happily, was made of a very stretchy fabric, since it turned out that one sister was curvaceously pregnant by the time our wedding day rolled around (no pun intended). I sewed a violet voile shawl edged in emerald green for each of them, and a scarf of the same to tie back my hair rather than having a veil, something that would anyway have looked a bit odd since I didn’t want to wear a white gown. Besides that I tend to look a little too much like a corpse when wearing white, I too wanted to have a dress with reuse potential, especially if I was investing a couple hundred dollars in all of the fabrics, so I made my shawl from iridescent emerald voile, the same fabric that I lined with dark emerald taffeta for the body of my skirt and bodice. The bodice, made in a sort of weskit shape, I stitched with self-colored silk soutache. While I cut and serged all of the pieces of my layered fabric for the dress and made my underskirt, my mother generously did all of the finish sewing on the top and skirt. Designing and sewing just the soutache provided enough adventure for this semi-skilled seamstress. I did, however, go dress shopping with both of our moms, and we found one a perfect-condition consignment dress for a great price and the other, a clearance two piece dress/jacket combination for $10. The guys wore rented tuxes, mainly because the groom owned a white tie and tails conducting getup and nothing like a plain black suit, and I figured if I was going to have a wedding more formal than a zippy elopement, I still did want to get all spiffed up. Not averse to having fun, and all that jazz.

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[Ed: No, we weren’t all pretending to be The Dread Pirate Roberts–I’m just providing a dash of privacy for family and friends.]

The fabrics and ribbons left over from manufacturing banners and dresses and shawls got trimmed and saved up for dressing the reception tables, along with a multitude of candlesticks from home that I loaded up and lit. To keep reception food fuss to a relative minimum, we opted to have the party in the fellowship hall at the church. That way, also, there was no monkeying around with additional travel, hall-finding and parking issues, party setup in a separate venue, or the time required for all of those add-ons. And we figured the social aspect was the primary reason for having a reception at all, not fussy edibles meant mostly to impress people, so we went to our favorite farmers’ market and bought a bunch of lovely fresh fruits to complement the array of nuts, chocolates and home-baked cookies that were the main bites. Friends and relatives gifted us with many of the cookies, and the baked centerpiece was a traditional Norwegian kransekake (more a stack of crisp-chewy almond meringue biscuit rings than cake) made by our Norwegian brother-in-law and my mother. As it turned out, yet another set of friends surprised us with a second lovely kransekake, so we were all in cookie heaven. A very fine place, indeed, and not only on a wedding day.photo

Moments of Music

 

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Remember the Living

I had meant to post this later, but given my earlier note to you this morning I think it’s the right one for today after all. Food posting can wait.

A little while ago I posted a pair of poems memorializing our beloved friend Jim, one of them (Keyboard Position) honoring a fine teacher of his, whose graceful playing as accompanist to a vocal colleague, when I heard them, was so evocative of Jim’s that I was instantly flooded with remembrance–and a few fond tears–on recognizing the source of so much of his comportment at the piano: his posture on the bench, the curve of his hands, the distinctive action in his wrists and arms. The second poem (Nocturne) was more specifically about Jim’s playing and, especially, the powerful sense that his music lingers around us, as evidenced of course, in that earlier performance of his professor’s.

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The Organ at Trinity Chapel, one of the many we heard Jim play so magnificently.

Some folk were understandably curious about the backstory of those poems. I’ll start with the “front-story”, if you will. It was a decidedly more recent performance of keyboard magic that brought all of these simmering memories bubbling so actively to the surface. I chronicled it in another poem, posted here slightly earlier. While my husband, as Interim Choirmaster of an Episcopal church, was preparing a pair of Lessons and Carols services in December with choir and strings and organ, the guest organist who had already been engaged for the occasion by my spouse’s predecessor arrived and began both rehearsing and endearing his charming, avuncular self to us. We had some foreknowledge of this guest, and were prepared to hear his spectacular playing, not least of all the amazing improvisational skills for which he gained much of his fame, so it wasn’t terribly shocking that hearing him play was so powerfully evocative of our late friend Jim, also a gifted organist and improvisational artist. What we weren’t prepared for was this dear guest organist Gerre Hancock’s death a few days ago. Needless to say, we are saddened by his loss but immensely grateful we had the chance to spend a little precious time with him and hear him play.

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Jim commissioned some Bach portraits from me for a program we did together, music and readings and projected artworks, chronicling the life and work of Johann Sebastian Bach.

There are so many unfathomable mysteries in life and death. How is it that our paths in life cross with those of just these particular people at just these particular moments and have such unimaginable depth in just these particular ways?

I can’t begin to believe that it’s all coincidental or purposeless, most of all because I know how much I myself have gained from knowing all three of these magnificent keyboard artists. I am deeply glad that Jim’s beloved mentor and professor, subject of Keyboard Position, is still among us. He is a kind, gentle and wise spirit whose mere presence in the community still infuses us with the warmth of his long service as a fine educator and the depth of his skills at the keyboard. Gerre, though not so very old at his death, had a long and celebrated career and rich life.

Jim didn’t get so many years to accomplish any of this. He was murdered at 40 by a suicidal gunman. There can be no sense made of it at all. Like so many horrors in this world, it ought never to have happened. That it happened to a man my husband and I both considered an intimate friend as well as colleague, one who indeed played a part in bringing us together and then stood up as a member of our wedding party while also acting as organist and hymn-writer for it; who with his wife joined us on our honeymoon; who collaborated on projects with each of us at the university and elsewhere professionally and who celebrated together with my spouse when they both finished their doctorates–needless to say, his cruel death was earth-shaking.

But that is precisely how terrible things unfold in the real world, time and again. For some of us there are mercifully few such monstrous events, and for others they seem a constant deluge. One or a thousand, there is no pretty way to decorate such grief and darkness and make them logical and palatable, or even tolerable. So how to do we go on living?

Jim taught me the answer as much as anyone ever did. He had had his share of sorrows and trials in his own brief life, but he also managed to live one of the fullest and richest lives, in his 40 years, of any person I’ve ever known because his constant focus was on seeking, embodying, and passing around every form of goodness he could encompass. His almost limitless capacity for loving and sharing those gifts with others was clearly reflected in an enormous host of dearly loved friends, people whom he claimed as family and who took to heart his lessons of generosity, hospitality, inclusiveness, and determined hope. He created an army of sorts, and one more powerful in its quiet, almost stealthy, way than most, of people like me who, while we remember him every day with both love and loss, move forward through it more determined to embody some little part of the wisdom and patience he had at his best, the passion, persistence, and relentless efforts to better not only himself and his own considerable skills but the lives of the people around him.

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Among the artworks Jim commissioned from me over the years were a series of lighthouse images because he was captivated by the idea of lighting the way for those in need.

So when I think of him, I don’t constantly revisit the hideous memory of his death and grief at the gaping wound left in this world by his loss–no good comes of lying deep in those fixed, implacable sorrows. I am moved to remember, to be immersed in, the deathless love of a friend and companion; his admiration for lighthouses, which for him symbolized the shedding of more important kinds of light than the mere incandescent; in the many graces he worked so hard to polish to excellence* and what they ought to do for the wider world; in his shouts of laughter at whatever deserved a good laugh; and most deeply, in those still fresh melodies that his magnificent musical gifts keep alive in the one simple medium that will outlive all of our astounding technologies for music-playing and listening: the heart.

Only in remembering to treasure the wealth of living that Jim wedged into his brief sojourn among us, and in living out the best of his legacy that I’m able to do, can I keep the joy that he was alive. By continuing to hear and be moved by–and move to–the music that Gerre and Jim both (and now, Anders) left eddying around us, whether from their instruments or from those lives lived with arms open wide and laughter ringing among the stars, I remember best how to keep living my own life.

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Jim's memorial sculpture on the university campus where we'd all worked together was my final commission for our dear friend. This image, with commemorative text, is etched in glass and set in a steel frame, and the piece is called, simply, 'Excellence'*.