Elgar's choral masterpiece wins acclaim in city

The world premiere in Birmingham Town Hall two years earlier had been a disaster through no fault of the composer. The chorus was seriously under-rehearsed and at least two of the principal soloists had off days.

The premiere received adverse reviews from leading music critics and, in despair, Elgar wrote to a close friend: "I have worked hard for 40 years and at the last, Providence denies me a decent hearing of my work, so I submit - I always said God was against art and I still believe it.

''Anything obscene or trivial is blessed in this world and has a reward. I ask for no reward, only to live and to hear my work. I still hear it in my heart and head so I must be content."

However, thanks to the German composer Richard Strauss, there were two resoundingly successful performances of The Dream of Gerontius at Dusseldorf in 1901 and 1902.

And then came the first performance of the work at the Three Choirs Festival of late September 1902. Tears were clearly seen streaming down Elgar's cheeks as he conducted Gerontius in the Cathedral.

Gratifying

He wrote to a close friend afterwards: "You must come to Worcester and hear what Gerontius MIGHT be! - The Building will do it!"

Berrow's Journal of September 13, 1902, carried this review of the Three Choirs performance: "It must have been peculiarly gratifying to Dr Elgar to witness the large concourse of people that came to hear his 'Dream of Gerontius.' Already in its short life the work has received the approval of two nations. Therefore, the approval of the composer's native city was alone wanting to complete the sum of approbation. This has now been accorded, and in large degree.

"The plan of the music is freely descriptive, and it is in the expression of feeling that Dr Elgar displays so great a gift. The performance was followed with the closest interest by an audience that filled the Cathedral from end to end."

There was a centenary performance of Gerontius at the recent Worcester Three Choirs Festival with the Philharmonia Orchestra, the Festival Chorus and soloists Catherine Wyn Rogers (mezzo-soprano), John Daszak (tenor) and William Clements (baritone), all under the baton of Adrian

Lucas, Worcester Cathedral's Director of Music.

However, it must be remembered that Elgar, a Roman Catholic, had to revise parts of Gerontius so that it could be performed in Worcester Cathedral at the 1902 Three Choirs..

Composed to Cardinal John Newman's epic poem, the work clearly has significant Roman Catholic overtones and was seen as requiring some alterations to make it acceptable for performance in an Anglican cathedral. The changes were demanded by Bishop Gore of Worcester, but were made fairly willingly by Elgar so that the work could receive its first performance in his native city.

Berrow's Journal explained: "Masses are common enough as subjects for cathedral festival performance but this precedent does not meet the doctrinal points raised by Dr Gore. There are things in 'The Dream of Gerontius' which ought not to be given in a Cathedral, but it is difficult to imagine a work which, as a whole, is so spiritual and so devotional.

"The great chorus 'Praise to the Holiest in the Height' particularly compels our admiration of Dr Elgar, but this is not the only grand thing in a work which is one of the boldest and most beautiful musical conceptions of the age. We understand that by means of consultation between the Dean and Chapter, the Three Choirs Festival Committee and Dr Elgar, an excision and a little alteration have been arranged, and the work will be performed in the Cathedral."

Alas, personal sadness was to surround the 1902 performance. The Journal explained: "Dr Elgar directed the final choral rehearsal under sad circumstances. In a short speech to the choir, he announced that his beloved mother had died in his arms that very day, but that in almost her last words she had begged him not to allow her death to interfere with his Festival engagements."