The origin of the Messiah news coverage
Article 9.12.2024
How did the Helsinki Chamber Choir’s and the Finnish Baroque Orchestra’s production of the Messiah end up in the national news coverage? Everything started with an opinion piece, cited below. (Some minor clarifications and additions have been made to the text, but the essence of the text is unchanged.)
The preconcert tour visited all the concert locations in the beginning of November. The concerts are on 5th December in Varkaus, 6th December in Kajaani, 8th December in Hämeenlinna, 10th December in Kirkkonummi and 15th December in Helsinki.
The rich European cultural heritage – one of the important pillars that our identity is built upon – is in grave danger due to disproportionate interpretations of the law. The purpose of freedom of religion can surely not be to suppress the Finnish identity and culture – even the Finnish flag includes a Christian symbol – but to appreciate the cultural heritage, including religion, of other cultures.
This autumn, there have been reports about a case where the National Non-Discrimination and Equality Tribunal recommended that the City of Hämeenlinna pay damages to a non-religious student, who in 2022 was exposed to Christian values by being made to listen to Christian music, which was interpreted as discrimination. We are shocked by the situation following the case, where the Helsinki Chamber Choir’s and the Finnish Baroque Orchestra’s free concerts with basic Baroque repertoire for school children have now been questioned or even cancelled by the organiser to avoid liability and potentially fines. It is unreasonable to demand of schools and cultural actors that alternative cultural activities of equal quality be arranged as a precaution. It is important to identify events that are genuinely religious and that alternative events are arranged for those. The concerts by the Helsinki Chamber Choir and the Finnish Baroque Orchestra are neither religious events nor acts of proselytism. The religious nature of the texts in these works is not a relevant criterion when choosing the repertoire, the programme is chosen on artistic merit. The Near (Lähelle) tour project will continue next spring, with secular Italian madrigals on the programme.
We consider it of utmost importance to understand our own history and religion as well as the histories and religions of others. We do not have to personally agree with everything that we understand. The large oratorios of Händel, such as The Messiah in this case, are an important part of the European cultural heritage. During the 18th century, culture was primarily financed by the church and the courts. The church commissioned works from composers, naturally using Christian themes as texts. Through these, the composers and librettists thoroughly explored the many aspects of humanity. It can hardly be in anybody’s interest to stop children from hearing Baroque music. In our times, with hate speech and cuts in cultural spending, we see it as desirable to also give children the opportunity to enjoy diverse cultural experiences and cultural education. It is more important than ever to widen your own horizons in a world where it’s all too easy to cuddle up in your own bubble.
We want schools to have clear instructions that help them differentiate religious events from general cultural work. Along with the broad debate that followed this opinion piece, some clarity has been brought to the interpretation of the instructions, even though the National Board of Education found no need to change the instructions themselves. Outi Raunio-Hannula, Counsellor of Education, said that “it is still possible to study artworks with religious origins in an educational setting without having to consider it a religious event and having to arrange alternative programme”. Anders Adlercreutz, Minister of Education, wrote in his blog (in Finnish and Swedish): “I encourage schools to continue to provide their students with as much of our cultural heritage as possible – including Händel, Botticelli, Simberg and Engel, all of whom created art inspired by the Christian tradition.”
Laura Kajander
Executive Manager, Member of the Artistic Board
Finnish Baroque Orchestra
Nils Schweckendiek
Artistic Director
Helsinki Chamber Choir
Martti Anttila
Executive Manager
Helsinki Chamber Choir