Prepare to be captivated by the extraordinary journey of The Dream of Gerontius, a musical masterpiece that defied expectations and left an indelible mark on British culture.
Nicholas Hytner's latest cinematic masterpiece, The Choral, now gracing UK screens, culminates in an extraordinary rendition of Edward Elgar's iconic work. Alan Bennett's screenplay, a labor of love, paints a vivid picture of a choral society in a quaint Yorkshire town during the tumultuous times of World War I.
In their quest for non-German repertoire, the chorus master, Dr. Guthrie (the brilliant Ralph Fiennes), stumbles upon Gerontius, a choice driven by desperation. Little did they know, this decision would spark a controversy that challenged preconceived notions of British music.
But here's where it gets intriguing... Elgar, a pillar of the British establishment, was perhaps seen as a safe bet by Bennett's fictional committee. However, as Guthrie delved into teaching this unfamiliar score, they realized they had been deceived by Sir Edward's aristocratic facade. What they expected to be staidly English turned out to be disturbingly Catholic, foreign, and theatrical.
Bennett's screenplay is a whimsical delight, filled with moments of pure magic, like choir members flawlessly singing Gerontius as they run through the streets - a scenario that challenges belief given the complexity of Elgar's choral writing. Yet, beneath this whimsy lies a deep understanding of the work's troubled and controversial history.
The Controversy Unveiled: At the heart of this controversy lies Elgar's choice of text - a narrative poem by John Henry Newman, written after his conversion to Catholicism, an event that shook the Church of England. The poem depicts an ordinary man's journey through death, meeting an angel and facing purgatory, a concept alien to Protestant theology.
And this is the part most people miss... The Catholic Elgar, despite his fears of anti-Catholic prejudice, set this poem to music. The premiere at the 1900 Birmingham festival was a disaster, plagued by ill fortune and an incompetent chorus master. Even the renowned conductor Hans Richter seemed uneasy, perhaps due to Elgar's last-minute orchestration.
The Birmingham choir's performance was savaged by critics, and many were lukewarm about the piece. This experience shook Elgar's faith, leading him to declare, "I have allowed my heart to open once, it is now shut against every religious feeling."
But the story doesn't end there... After the disastrous premiere, performances in Düsseldorf salvaged Gerontius' reputation. By 1903, it had been performed to acclaim in Chicago, New York, Sydney, and across the UK. In 1916, the setting of The Choral, Gerontius was a bold yet fashionable choice for an amateur choral society during wartime.
Elgar's Legacy: At this point, Elgar's career was at its pinnacle. His Ode for Edward VII's Coronation, uniting his famous Pomp and Circumstance tune with "Land of Hope and Glory," solidified his status as Britain's best-known composer. He received knighthood, honorary doctorates, and critical acclaim for his First Symphony.
A Controversial Interpretation: Despite being described as quintessentially English, Elgar was well-versed in continental European music, and Europe returned the favor. Guthrie's remark, "In Germany, Elgar is a God, up there with Wagner," might be an exaggeration, but it reflects the extraordinary esteem Elgar held in Germany post-Gerontius.
The Influence of Wagner: Elgar's affinity with German music, particularly Wagner, is evident in Gerontius. The influence of Wagner's "stage festival dedication play" can be felt in every aspect of Gerontius, from its harmony to its use of leitmotifs and architectural continuity.
The Oratorio Debate: Elgar refused to label Gerontius an "oratorio," a term typically used for religious works with solo singers, choir, and orchestra. He claimed there was no word to describe it, highlighting its unique nature.
A Dramatic Treatment: Gerontius' dramatic treatment of its subject matter sets it apart from traditional oratorios. The choral singers, along with the soloists, bring flesh-and-blood characters to life, whether friends of the dying Gerontius or angels calling from heaven. The music sensitively captures every nuance of Newman's text while evoking extraordinary visions.
The Staging Decision: In The Choral, the singers take the bold step of staging and costuming their performance, a decision that would have disgusted the fictional Elgar. While staging Gerontius is not unheard of, the circumstances in the film strain credibility. Elgar's music demands the utmost from amateur singers, leaving little room for acting.
Emotional Involvement: Paradoxically, it is in this less plausible musical moment that the film becomes most emotionally engaging. Gerontius is sung by Clyde (Jacob Dudman), a young man who lost his arm in the war. His interpretation, dressed as a soldier, carries a powerful message about the realities of war and the solace found in music and community.
A Shattered Community: Hytner highlights the poignancy of this sense of community, as it is shattered shortly after the performance when the choral singers are conscripted and sent to the front.
Gerontius' Impact: Undoubtedly, Gerontius transformed British music and society. It influenced composers and encouraged greater ecumenical understanding by allowing Newman's Catholic theology to be heard in Anglican cathedrals. Elgar's music exploded the myth of Victorian emotional restraint.
A Revolutionary Legacy: Today, Gerontius is performed worldwide, with superb recordings available. However, there is a risk that its familiarity might dilute its intended impact. The rough-and-ready account in The Choral serves as a reminder of its revolutionary potential.
So, what do you think? Is Gerontius a revolutionary masterpiece or a controversial choice? Join the discussion and share your thoughts in the comments!
