Many brethren would testify to the way in which music can add to the dignity and significance of masonic ritual. From the earliest days of Freemasonry music has played an important role and many distinguished musicians and composers have been members of the Craft. Mozart, who was initiated into the lodge Zur Wohlthatigheit in Vienna in 1784, is of course the most famous musical mason. He wrote a considerable amount of masonic music, including choral and instrumental pieces. I always use The Priests’ March from Mozart’s opera The Magic Flute for the entry of the Master and his Wardens. Other masonic musicians include Haydn, Franz Liszt, Arthur Sullivan and Samuel Wesley, the first Grand Organist.
    It should be stressed that music in the lodge ought not to be obtrusive but should help to create an atmosphere of peace and harmony, covering the movement of the officers while the organist should attempt to time his playing so that it concludes in time for the next part of the ritual. When the Deacons are conducting a candidate around the temple, for example, I try to arrange with them beforehand that they wait just a moment to allow me to bring the music to a suitable close before they begin the spoken part; this makes for a smooth join.
    Those of us who are church organists have the advantage of having available a repertoire suitable for ritual use. I use much music by Handel. Although he was not a mason, his marches from his operas and oratorios are most appropriate for perambulations. On those occasions when an organist must play for an extended period (for example when the candidate has retired from the temple or during balloting and alms-collection), I find Handel’s Water Music, Fireworks Music and some of his slow instrumentals to be appropriate. I also find brethren appreciate melodic pieces in the vein of Schubert’s Rosamunde Music. An excellent exit piece is the Grand March from Verdi’s Aida.
    Solemn music is sometimes required, such as during the Third Degree. I favour the Chorale tune from Finlandia by fellow mason Sibelius. Another suitable piece in this context is Mozart’s motet, Ave Verum Corpus. At an initiation, while the candidate waits “in a state of darkness”, I frequently play Lead kindly light, a piece which may be recognised by the candidate, providing something familiar in a situation where he may be feeling anxious.
    The perambulation of the candidate should be accompanied by a moderate pace (musicians please note, in 4 in a bar). If the organist is in a position to see the two wardens, he should stop neatly when the Junior Deacon has given the three knocks so that “Whom have you there?” follows on smoothly. Similarly, if the organist can see the Master, he should be ready to finish when the Master gavels; the Master must be in charge and should not have to wait for the organist!
    Church organists sometimes have to extemporise (which means to make up the music as they go along). This is not easy and should be attempted only if one is really fluent. Extemporisation comes in useful when there is an unexpected gap in the ritual. Another important function of the organist is to lead the brethren in the odes and the “motes” after the prayers. Firm and rhythmic playing is required. Music should be tuneful but never frivolous. While some may consider it amusing to play popular song tunes with words vaguely connected with the offices granted at investitures, I believe the practice should be avoided as it detracts from the dignity of the occasion.
    Many and varied are the types of organ which I have been required to play. Harmoniums are hard-going unless provided with means other than foot-bellows to provide the wind. Small electronic keyboards or even ‘entertainment organs’, which are provided with a range of special effects (none of which are of any use to masonic ritual, and which should be avoided) have passed beneath my fingers. Occasionally one finds a real pipe organ. These need only be of modest proportions to be effective. A pedal to control the volume is very useful, enabling the organist to fade right down at the appropriate time.
    Regrettably, there are many lodges today where there is no organist, either because there is no brother who is able to fulfill the position or because the lodge cannot afford to pay a professional organist. I am lucky, belonging as I do to the Saint Cecilia Lodge No. 6190 which meets at London’s Freemasons’ Hall. This lodge was started with musicians making up the majority of members, as were several other lodges in London, and you can imagine the pleasure we take in our music. I hope other brethren may likewise have the opportunity to relish the musical potential which lies within masonic ritual.

Howard Stephens MA (Oxon.) B.Mus., FRCO, ARCM, ADCM, was Organ Scolar at Keble College (1946-1950), Sub-Organist at Exeter Cathedral (1950-1955) and Head of Department at the West London Institute of Higher Education (1959-1978). Holding London Grand Rank, he is a music-reviewer, conductor, composer and arranger, and is organist to many lodges in the London area.