It is, then,
particularly interesting to hear what Sibelius was producing after Tapiola, an opportunity given to us by
BIS Records www.bis.se with
their new release of Sibelius’ Musique
Religieuse (Masonic Ritual Music) for tenor, male voice choir and organ, Op.113
and Musique Religieuse (Masonic Ritual
Music) for tenor and orchestra, Op.113 (arr. Jaakko Kuusisto, 2007).
In 1922, a new Masonic lodge was founded in Finland.
Sibelius was amongst the first to join and even became organist at the lodge.
His Musique Religieuse (Masonic Ritual Music) for tenor, male voice choir and
organ, Op.113 was first performed there in 1927. Sibelius added to these songs
or hymns in 1938 and 1948 and it is the pieces from 1927, 1938 and 1948 that
are performed on this new recording featuring Hannu Jurma (tenor) www.hannujurmu.com, the YL Male Voice
Choir www.yl.fi and Harri Viitanen (organ).
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| BIS CD 1977 |
There are lighter textures from the organ in I° Kulkue ja hymni (First Degree,
Procession and Hymn), 1927, though still maintaining the slightly austere,
distanced feel. Hannu Jurma, joins for the direct and simple hymn Näätkö, kuinka hennon yrti with a direct and austere feel, enhanced by
the Finnish language text. The gently rising theme of Ylistyshymni (Hymn), 1946, rev. 1948 is most effective as the tenor
and organ build the music in power, more Sibelian in flavour with its dramatic
statement. The YL Male Voice Choir joins when least expected and to great
effect. The hymn concludes with broad, powerful organ chords.
II° Kulkue ja hymni
(Second Degree, Procession and Hymn), 1927 has a light and airy, simple
happy melody for organ only, that brings much contrast. The tenor joins for the
hymn Kellä kaipuu rinnassansa which
is, likewise, a lighter, more joyful piece, with some lovely Sibelian
inflections. A terrific little piece. The choir join the organ for Veljesvirsi (Ode to Fraternity),1946,
another direct and hymn like piece, showing how affectively Sibelius could
write simple and direct music for congregational use. Here the YL Male Voice
Choir brings much style and precision to their singing.
In III° Kulkue ja
hymni (Third Degree, Procession and Hymn), 1927 the organ has an attractive
little tune before the pleading hymn Ken
kyynelin (Who Ne’er Hath Blent His Bread with Tears) with Hannu Jurma
bringing just the right degree of emotion. The organ enters in a slow stately Surumarssi (March Funèbre),1927, with
Sibelius giving some lovely subtle harmonies to the music. With a distinctively
Sibelian melody and a duration of just under just six minutes, this is one of
the most substantial pieces.
Tenor and organ give another direct hymn, Salem (Onward, Ye Brethren), 1927, but
such are the Sibelian intervals that they make for an interesting piece. Hannu
Jurma adds much with his rich voice. Choir and organ come together for Suur’ olet, Herra (Ode),1927, a piece
that has much of the nature of Veljesvirsi, direct and simple and
congregational. On kaunis maa (How Fair
Are Earth and Living), 1927, rev. 1948 brings tenor and organ in this
gentle piece, where Hannu Jurmu lends a lovely sense of appealing ardour.
This work concludes with
Finlandia-hymni (Finlandia Hymn), 1899, arr. 1938 where the choir alone
enter in Sibelius’ arrangement of his 1899 Finlandia. Who could fail to enjoy
this terrific final piece?
Sibelius sadly never
provided an orchestral version of his Musique
Religieuse (Masonic Ritual Music), however, in 2007 the conductor on this
disc, Jaakko Kuusisto www.jaakkokuusisto.fi , arranged the work for tenor and
orchestra at the request of the Masons for a special celebration concert at
Sibelius Hall in Lahti. In this performance, Jaakko Kuusisto conducts the Lahti
Symphony Orchestra www.sinfonialahti.fi
with Mika Pohjonen (tenor) www.mikapohjonen.fi and
Pauli Pietiläinen playing the Grönlund Organ of the Sibelius Hall, Lahti www.sibeliustalo.fi
Avaushymni (Opening
Hymn), in Kuusisto’s orchestration, reveals a more reflective, nostalgic
feel to the music whereas with Alttarin
valmistus: Suloinen aate (Adjusting the Altar: Thought Be Our Comfort) he
keeps the orchestra spare in the opening with brass prominent. Tenor, Mika
Pohjonen, brings an operatic tone, full of feeling. The orchestra opens I°
Kulkue ja hymni: Näätkö, kuinka hennon yrti (First Degree, Procession and Hymn:
Though Young Leaves Be Green) before the tenor joins as the hymn rises up
with organ and orchestral accompaniment before an orchestral conclusion. Tenor
and orchestra open Ylistyshymni (Hymn)
with restrained drama as the music slowly rises upwards to a grand orchestral
climax. Tenor, Mika Pohjonen is exceptionally fine, full and firm of voice,
controlled in the subtle moments as the music falls to a quiet coda that
nevertheless ends with brass and organ sounding out.
The light and happy II°.
Kellä kaipuu rinnassansa (Second Degree: Whosoever Hath a Love) has a
pastoral feel, brought out by the orchestration. With Veljesvirsi (Ode to Fraternity) this hymn like piece, for tenor and
organ, becomes closer to an aria in this orchestrated version. Certainly, perhaps
Mika Pohjonen’s fine tenor voice adds to the operatic feel. The orchestral
version of the Procession adds much
to the lovely little tune in III° Kulkue
ja hymni: Ken kyynelin (Third Degree, Procession and Hymn: Who Ne’er Hath Blent
His Bread with Tears) before the tenor enters without a break bringing much
feeling to the hymn Ken kyynelin (Who
Ne’er Hath Blent His Bread with Tears).
I was interested to hear how the orchestration would succeed
in Surumarssi (March Funèbre). Kuusisto
states that he has not attempted a Sibelian orchestration. It is most
effectively done and, Sibelian orchestration or not, builds in some very
Sibelian sounds. A terrific piece well worth hearing for its own sake as is the
organ version.
Tenor Mika Pohjonen, returns with orchestra for Salem (Onward, Ye Brethren), before Suur’ olet, Herra (Ode) where the tenor is
used instead of choir and any feel of congregational singing is dispelled. This
arrangement of Musique Religieuse ends with On
kaunis maa (How Fair Are Earth and Living) instead of the Finlandia Hymn of
the organ version, giving the whole piece a more reflective conclusion with a
quiet orchestra coda.
With two fine soloists and the first rate YL Male Voice
Choir, Sibelius’ version of this work is well work hearing. It is certainly
interesting to hear what the composer was doing in the so called silent years.
It is also good to hear the 1967 Marcussen Organ of Helsinki Cathedral www.helsinginseurakunnat.fi in such excellent voice. Helsinki Cathedral organist
and lecturer at the Sibelius Academy, Harri Viittanen, is excellent, bringing
refinement and sensitivity as well as, occasionally, allowing the organ to
sound out magnificently.
Jaakko Kuusisto and the Lahti Symphony Orchestra are
excellent in the conductor’s arrangement of the work, a version that will give
much pleasure.
The recordings from Helsinki Cathedral and the Sibelius
Hall, Lahti are first rate and there are excellent booklet notes from Andrew
Barnett as well as full texts and translations.
I thought this new release might just be for die hard Sibelians but I found much to really enjoy as I am sure many others will.
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