Masonic music
Media
Part of The Cabletow
- Title
- Masonic music
- Creator
- Stransky, Eugene
- Language
- English
- Source
- The Cabletow Volume XXXVIII (No. 3) September 1962
- Year
- 1962
- Rights
-
- Fulltext
- exposal to criticism beyond repair. They need be eliminated now and forever. Masonry must assist in fostering our country's economy in every way. If in the past deliverance from ty ranny and oppression of nations and peoples had been accomplished by leaders schooled in Freemasonry - like Bolivar in South America, Washington in North America, San Martin in Cuba, and Rizal, Bonifacio and Aguinaldo in the Philippines — there seems to be no reason why economic ills and trangulation may not be cural with Masonic leachings, tenets and prin ciples. Let us, therefore, play our part. Let us stretch forth a help ing hand to remedy a national di saster that is both tragic and ciuel. The task is great and requires much sacrifice. That it is and does, should not discourage us from performing an important duty. We must give our all for country and home. Economic emancipation is the password. Let us be alert and act accordingly. Let us be Masons now, or never. AAA MASONIC MUSIC (Second and last installment) By WB. EUGENE STRANSKY, MD Another composition of Bro. Mo zart in the same year was "Maurer Freude” (Mason’s Delight) to hon or Bro. Ignaz Morn, the most prominent Brother at that time in Vienna whose postion would be characterized now by the term (hand Master, and celebrate the union of the smaller Lodges in Vienna to a few larger lodges. Another remarkable composition is "Fine Kleine Freimurer Kainate” (Little Cantata for Freemasons) for a small orchestra with a male choir. One of the greatest Masonic com positions of Bro. Mozart is "Maurerische Trauci inusik” (Masonic Funeral Music) composed in No vember 1785 on the death of two prominent members ol the Fratertv, Count Eszterhazy and Prince Mecklenburg Strelitz. It is an or chestral work with singers. It is very imposing and by far better than anything performed in our fu nerals. I succeeded several years ago to convince the M. W. Grand Master at that time, M. W Bro. Ma cario M. Ofilada, to order the re cord from America. I wonder, how ever, if it has been played already so far. I may add here that there is likewise a composition for clos ing the Lodge by Bro. Mozart. Flic greatest achievement of out genial Brother is the opera "Die Zaubcrilote" (The Magic Flute). Flic text was written by Bro. Ema73 nucl Sdiikaneber (1751-1812) Much has been written about this opera. It is hard to describe it without having the text and the music.. It may be sufficient, however, to state that by hearing or belter still see ing the action, any Brother will immediately feel that Masonic prin ciples, Masonic Rituals and Maso nic ideology have been glorified. The hero had to pass through sev eral hardships before he reached his goal. The fight between darkness and light is so characterized that one has to see it. It deals with our own ideals, while a laymen and a non Mason will not observe anything. The opera was composed in Sep tember 1791, a few weeks before the death of our young Brother of uremia although he had still the chance to conduct his opera per sonally. Al that time, after* the death of Emperor Joseph in 1790, Masonry had been persecuted and suppressed in Austria, and there is a general belief that the opera had been composed in order to encour age the persecuted Brethren and to show them that Masonic ideals can not be suppressed for good and that finally our tenets will prevail. Goethe, the great German poet (1749-1832) and Brother who was simultaneously the director of the National Theater in Weimar, recog nized the Masonic character of the opera immediately and performed it as such in 1794, although with some changes in the text in order to emphasize better the Masonic character of the opera. My sugges tion is that every Brother avail him self of any chance to see and hear the immortal work of Bro. Mozart in order to be able to appreciate as well the Masonic symbolism contained in the scenario and text, as the immortal music of our Maso nic genius. Non-Masons cannot understand the scenario while the Brethren enjoy it. Because of this the Magic Flute was and is per formed even in countries where Ma sonry is prohibited. However, re cords of the opera are not sufficient as we cannot see the scenario and the decorations which are definitely neccesary for the understanding ol the Masonic background of the opera. The second half of the eighteenth century was the acme of Masonry and musical activity. The rich aris tocrats, all the emperors and kings had their own orchestras; no wonder that in Masonry music in the form of choirs and instrumental music has been a part of the Ritual. The eighteenth century is characterized by the start of professional perform ers and commercialization of music by concert agencies, etc. which is going on until our times. Music changed its public. The middle class in the large industrial cities became the mainstay of mu sic. However, as the different reli gious cults never changed their at titude to utilize music for their Ri tual, even the Fraternity continued to use music, although in a lesser degree. One of the most famous songs in the nineteenth century, of "Die Ulir” (The Watch) by Karl Loewe (17961869), likewise a member of our Fraternity, was performed for the first time in the Lodge to the Three Circles in Stettin in 1829. That Ri chard Wagner (1817-1887) (although not a Mason as he could not join our Graft on account of the hostility 74 THE CABLE TOW September, 1962 of the king of Bavaria against the Craft, his protector) was always in close contact with Brethren, and Ma sonic ideas and terminologies in his last opera "Persival” is obvious. Jan Sibelius, who died a few years ago, the national composer of Fin land, had been the Great Organist of the Grand Lodge of Finland and author of different Masonic compo sitions, such as songs for tenor with piano accompaniment, three qualours for male voices, a funeral march, etc. One of his compositions' ‘‘Onward Ye Peoples” was perform ed publicly in New York in 1938 with 500 members of the choir of New York. The compositions arc all recorded and in the possession of the Grand Lodge of New York, hence easily available. There arc many Brethren among the more modern composers besides Sibelius. For instance, the well known Ita lian opera composer Puccini has been likewise a member of the Craft like many of the modern American composers. However, as they did not compose any Masonic music, they may be considered just as mem bers of the Craft, but not as Mason ic: composers. Frans Liszt joined likewise the Craft among other fa mous composers. In such a relatively short survey as this, many details have to be missed. However, 1 hope to have succeeded in informing our Breth ren that Masonic music exists and that music has been formerly a part of the Ritual. I am convinced that if we would be able to utilize Ma sonic music again as a part of our ritual, especially the candidates re ceiving the degrees of an Appientice. Fellowcralt and Master Mason. they would be more impressed and would remember the ceremonies for life. Even seasoned members of the Craft would be deeply impress ed by the music of Bro. Mozart and the eternal ideas of Masonry would be more deeply implanted in their minds and hearts. For this purpose, it is sufficient to have the records oi compositions with the texts of the songs, even if they are translated from German or other foreingn languages. I shall never forget the effect of the two-hundrcd-ycar celebration of the birth of Wolfgang Amadeus Mozart in 1956, when I was asked to discuss the Masonic music of Brother Mozart. There were re cords played and the relative texts printed and distributed among the listeners. Therefore, my plea in connection with this shori report is for us to be aware of our great treasure of Masonic music which we must utilize in our ceremonies so far as possible. A A A VICTOR HUGO When the disasters of the FrancoGarman war were falling thickly and the iron band was closing around Palis, Victor Hugo was not there. But lie came to share his peoples sufferings. On the way he had seen the Bavarians, seen villa ges burned with petroleum, and he came to. imprison himself in Paris. A touching ovation was given him by the people who never forgot his voluntary sacrifice. It was one <>■ the secrets of his power over the French people. - Selected MASONRY AND MUSIC 75