Classical Music: Elgar's Dream Of Gerontius 1900

Elgar: Dream of Gerontius 1900

Paul McCreesh- Conductor
Anna Stéphany Mezzo-Soprano
Nicky Spence Tenor
Andrew Foster-Williams Bass-Baritone

Gabrieli Consort
Gabrieli Roar: Emily Dickens & Charles MacDougall, Choir Directors
Polish National Youth Choir: Agnieszka Franków-Żelazny, Artistic Director
Gabrieli Players: Jacqueline Shave, Leader
Marcus Farnsworth Assistant Conductor

Recorded: Fairfield Halls, Croydon and Hereford Cathedral.
Edition Novello & Co first edition 1900
/1902
Libretto Cardinal Newman, The Dream of Gerontius 1865, adapted by Elgar

Signum Records SIGCD785
2 CD, Digital Stream & Download
https://signumrecords.com/

I heard this work for the first time at the 1987 Worcester Three Choirs Festival, conducted by Donald Hunt. As a 21-year-old, I fell in love with Elgar’s masterpiece. I have subsequently heard it live hundreds of times, have sung in the chorus, and have copious recordings.

Until now, I have not been able to replicate the magic of that first time. For me, it comes down to the buildup from the Angel’s “And not the threshold...” to the three chords that herald the chorus tutti proclaiming ‘Praise to the Holiest in the Height'. This excellent Signum disc captures that spine-tingling moment in all its full glory, with the composition's character and reverberation palpable, transporting the listener on Cardinal Newman's spiritual journey.

Of course, it's more than that one moment, and there are a plethora of reasons why this historically informed recording stands out. Excellent sound engineers capture McCreesh's musicianship and perceptive interpretation, a trio of stellar soloists, the exciting tempi, the overall tone of the instruments, and Elgar's wonderful dramatic orchestration. The plangent moments, like the fffz p after a pause just before Gerontius meets God, to the mellow sounds at the other end of the spectrum, add to the theatre.

The difference with this recording is that the listener is hearing it as Elgar would have done in Birmingham Town Hall. Paul McCreesh writes: ‘…the orchestration is equally astounding, both in the refined delicacy that colours every nuance of the orchestrally accompanied recitative and in the brilliance of the ensemble at full tilt. This project presented the opportunity to recreate an orchestra from around the time of the Birmingham premiere in 1900, now almost a century-and-a-quarter ago, and it was a fascinating experience to hear the music afresh, in even more vivid colours.’

McCreesh also provides a fascinating discourse detailing the provenance of the instruments used; we learn that Elgar’s own trombone is used. ‘Elgar took up the trombone in middle age, around the time he was composing Gerontius, apparently with rather humorous results!’ The oboe that Nicholas Daniels plays belonged to the illustrious Léon Gossens. The side drum and bass drum are original instruments from Elgar’s day, both with calf-skin heads, and we get to hear Hereford Cathedral’s mighty ‘Father’ Henry Willis organ. All of this adds up to making the orchestra successfully replicate the sound that Elgar would have known. The colour and dynamics in the Prologue are marvellous, as the theme that underpins the work resonates.

Andrew Foster-Williams’ confident performance as the Priest, especially in his imposing 'Proficiscere, anima Christiana'. Although not marked as 'Noblimente', Elgar's musical term, the listener is compelled to 'Go forth in the name' in a stately march that has majesty and gravitas. 

Nicky Spence more than matches the quality of many who have tackled the role of Gerontius before; his many operatic roles and excellence at Leider mean we get the full gamut of emotions in an impressive and masterful performance; it is all so tangible. The beauty and tenderness at the beginning of Part 2 as he sings 'I went to sleep’ and the interaction with the orchestra, followed by his duet with the Angel are intensely exquisite. Of all the roles in The Dream of Gerontius, the Angel often draws comparisons to other mezzo-sopranos. Anna Stéphany need not worry; she convinces with a demonstrable pathos, and the listener feels the agony. Her gorgeous 'Softly and gently' sustained by Elgar's moving accompaniment leads us to purgatory and the promise of everlasting glory.

The choirs are magnificent and well-controlled, especially in the semi-chorus sections such as the plaintive ‘Noe from the waters in a saving home', the demons, and the Angelicals. Overall intonation and rhythmical presence from members of the Gabrieli Consort, Gabrieli Roar, an ‘ambitious and rapidly expanding choral training programme that now offers thousands of young British singers the chance to engage with some of the finest choral repertoire’, and the Polish National Youth Choir. They effectively and skillfully replicate McCreesh's direction. And as for that controlled Amen, one needs time to recover.

There are two short essays in the booklet by pianist Stephen Hough and harpsichordist Mahan Esfahani that merit attention.

Without a doubt, this is my CD of the year so far. The timbre of the instrumentation and the eloquence make this a superlative and thrilling performance, and if, like me, you enjoy Elgar’s masterpiece or have not heard this work before, then this is the recording.

Outstanding.