Elgar The Dream of Gerontius Parry Blest pair of Sirens • I was glad
London Symphony Chorus Felicity Palmer mezzo-soprano Arthur Davies tenor London Symphony Orchestra Gwynne Howell bass Richard Hickox Greg BarrettGreg
Richard Hickox (1948 – 2008) COMPACT DISC ONE
Sir Charles Hubert Hastings Parry (1848 – 1918)
1 Blest Pair of Sirens (1887) 11:54 (At a Solemn Musick) for Chorus and Orchestra An Ode by Milton
2 I was glad (1902, revised 1911) 7:02 Coronation Anthem for Edward VII for Chorus and Orchestra Revised for George V Words from Psalm 122
Sir Edward Elgar (1857 – 1934)
The Dream of Gerontius, Op. 38 (1900)* for Mezzo-soprano, Tenor, Bass, Chorus, and Orchestra Words by Cardinal Newman Part I 37:16 3 Prelude – 10:17 4 Gerontius: ‘Jesu, Maria – I am near to death’ – 3:40 5 Assistants: ‘Kyrie eleïson’ – 2:16 6 Gerontius: ‘Rouse thee, my fainting soul, and play the man’ – 0:51
3 7 Assistants: ‘Be merciful, be gracious; spare him, Lord’ – 3:07 8 Gerontius: ‘Sanctus fortis, Sanctus Deus’ – 4:49 9 Gerontius: ‘I can no more; for now it comes again’ – 1:56 10 Assistants: ‘Rescue him, O Lord, in this his evil hour’ – 2:16 11 Gerontius: ‘Novissima hora est; and I fain would sleep’ – 1:29 12 The Priest and Assistants: ‘Proficiscere, anima Christiana, de hoc mundo!’ – 1:59 13 Assistants: ‘Go, in the name of Angels and Archangels’ 4:30 TT 56:32
COMPACT DISC TWO
Part II 57:57 1 Introduction. Soul of Gerontius: ‘I went to sleep; and now I am refreshed’ – 6:25 2 Angel: ‘My work is done’ – 3:10 3 Angel: ‘All hail! My child and brother, hail!’ – 5:44 4 Demons: ‘Low-born clods of brute earth’ – 1:54 5 Angel: ‘It is the restless panting of their being’ – 0:16 6 Demons: ‘The mind bold and independent’ – 2:20 7 Soul of Gerontius: ‘I see not those false spirits’ – 3:25 8 Choir of Angelicals: ‘Praise to the Holiest in the height’ – 2:40 9 Angel: ‘We now have passed the gate, and are within…’ – 0:27 10 Choir of Angelicals: ‘Glory to Him, who evermore’ – 0:30
4 11 Angel: ‘They sing of thy approaching agony’ – 0:47 12 Soul of Gerontius: ‘But hark! a grand mysterious harmony’ – 0:39 13 Angel: ‘And now the threshold, as we traverse it’ – 0:32 14 Choir of Angelicals: ‘Praise to the Holiest in the height’ – 6:56 15 Angel: ‘Thy judgment now is near, for we are come’ – 3:23 16 Angel of the Agony: ‘Jesu! by that shuddering dread which fell on Thee’ – 3:50 17 Soul of Gerontius: ‘I go before my Judge’ – 1:43 18 Angel: ‘Praise to His Name!’ – 1:34 19 Soul of Gerontius: ‘Take me away, and in the lowest deep…’ – 2:56 20 Souls in Purgatory: ‘Lord, Thou hast been our refuge: in every generation’ – 1:14 21 Angel: ‘Softly and gently, dearly-ransomed soul’ 7:19 TT 57:57
Felicity Palmer mezzo-soprano (Angel)* Arthur Davies tenor (Gerontius)* Gwynne Howell bass (The Priest / Angel of the Agony)* London Symphony Chorus London Symphony Orchestra Roderick Elms organ Richard Hickox
5 Elgar: The Dream of Gerontius
The right work sometimes comes at the the ecclesiastical drama of Bach’s Passions. right time. It is appropriate that The Dream of Both these oratorios have survived because Gerontius by Sir Edward Elgar (1857 – 1934) their music is palpably superior to that of his had its first performance three months before contemporaries, but they have struggled and the end of the nineteenth century, for English needed much special pleading by believers in composers had been much occupied with their splendour. religious choral works since the success of But in the dying days of Victoria’s century Mendelssohn’s Elijah at the 1846 Birmingham and era came The Dream of Gerontius to Festival. One after another they were produced prove that an English composer could at Birmingham, Sheffield, Leeds, Worcester, write a religious choral work which could Gloucester, Hereford, and the Crystal Palace. be mentioned in the same breath as those None is heard today (except perhaps for Parry’s by the great masters. Its text was not Job). Bernard Shaw called it ‘the oratorio biblical, and it was neither an oratorio nor market’ and wrote in 1890 that a cantata. Elgar did not want it described every year at the provincial festivals ‘by that dreadful term “sacred cantata”’ some dreary doctor of music wreaks his and he permitted Novello’s to include it in counterpoint on a string of execrable their oratorio list only because, as he put it, balderdash with Mesopotamia or some other ‘there’s no word invented yet to describe it’. blessed word for a title. The score says merely ‘set to music’, and that Frederick Delius, anti-Christian pagan among is what it is: Cardinal Newman’s poem about English composers of his day, remarked that the journey of a man’s soul to judgment and Parry ‘would have set the whole Bible to music Purgatory set to the music of Elgar. This was had he lived long enough!’ Elgar himself, with the biggest irony of all: that the crown of a The Apostles and The Kingdom in 1903 and century’s endeavour should arise not from 1906, assembled his libretti from the Bible the Anglican tradition but from the words of and tried to combine the operatic methods a famous convert to Roman Catholicism and of Wagner’s Der Ring des Nibelungen with the music of a Roman Catholic composer.
6 The most significant point about old, and we may surmise that he first read it The Dream of Gerontius, which explains why in the 1870s. He certainly knew it in 1885, for the circumstances of its first performance that was the year in which General Gordon have become part of the folklore of English was killed at the Siege of Khartoum, to the music, is that Elgar instinctively knew shock of the nation and the fury of Queen he was writing something very special. Victoria, who blamed Gladstone for the delay When he finished it, he quoted Ruskin on in the dispatch of a relieving force. Gordon is the manuscript score: ‘This is the best of one of the emotional links between Elgar and me… this, if anything of mine, is worth your the music of Gerontius. memory’. It was written ‘from my insidest Before he left England for Egypt, Gordon inside’, he confided to a friend, and to another had been given a copy of Newman’s poem. It he wrote that appealed to him particularly because it was you will find Gerontius far beyond anything dedicated to a man with the surname Gordon. I’ve yet done… I have written my own In his copy he marked those passages which heart’s blood into the score. he found of especial solace and inspiration. From the solemn opening of the Prelude, When he ordered a newspaper reporter on clarinet, bassoons, and violas, with the to leave Khartoum for safety, he gave this agonised entry of the cor anglais at the fifth book to him. After the death of Gordon, his bar, to the final pages where the Angel says markings of the poem were widely circulated her ecstatic farewell to the Soul of Gerontius and Elgar added them to his own copy. over the chanting of voices in Heaven and Two years later, Elgar was engaged to Alice on earth, the music creates an atmosphere Roberts, daughter of a general, and when her which enshrouds the listener. mother died he lent her Gerontius so that she We cannot be sure when it began. For could transfer Gordon’s markings into her many years, it was probably in Elgar’s mind own copy. only as something he might do some day. The death of Gordon – which Gordon had It is often said that Elgar was introduced seemed almost to invite – haunted Elgar, to the poem when it was given to him as a who for several years pondered how to wedding present in 1889. But that is not true. commemorate him in music. He talked in 1898 He had known it for years before that. It was of a Gordon Symphony for the Three Choirs published in 1865, when he was eight years Festival and sketched a theme for it. But
7 although he did not then feel able to tackle with Strauss’s Composer in Ariadne auf a full-scale symphonic work, the theme was Naxos: ‘Music is a holy art.’ His letters show not wasted. It can be heard now in the ‘Go how he detested the commercial side of forth’ chorus that ends Part I of The Dream music, and suddenly he and his beloved of Gerontius; so Gordon has a direct musical Gerontius were plunged into it: wrangles over link with Gerontius. Later in 1898, after the royalties, trouble over payment for use of the success of Caractacus at the Leeds Festival, libretto, pettiness over the fee to be paid to Birmingham asked Elgar to compose the Jaeger for writing an analysis. When the first principal new work for its 1900 festival. His performance on 3 October 1900 did the work first idea was St Augustine, but this was scant justice, even though it was conducted rejected. He then began a work about the by the great Hans Richter who had so Apostles, with the emphasis on Judas, but successfully launched the Enigma Variations this too was not yet formulated. The matter in 1899, Elgar was demoralised. was resolved on New Year’s Day 1900 when There were several practical reasons for G.H. Johnstone, chairman of the festival the Gerontius débâcle, chief among them committee, a rich and cultured civic leader, Richter’s failure to master the score and to called on Elgar in Malvern and reminded appreciate its difficulties, and the stroke of him that he had once mentioned setting ill luck that the sympathetic chorus master Newman’s The Dream of Gerontius. Why not died before rehearsals began and his elderly make that the work for Birmingham? Elgar and by then incompetent predecessor agreed and Johnstone made the financial had to be recalled from retirement as an arrangements with a reluctant Novello’s. A emergency measure. But it can now be theme intended for Judas became instead the seen that the principal cause was Elgar’s imploring prayer of the Angel of the Agony. own lateness in selecting a subject. Elgar Throughout the composition of the composed a work in which the ebb and flow work, as his correspondence with Novello’s of the music was something no festival choir publishing manager, A.J. Jaeger (‘Nimrod’), had then encountered, requiring thorough testifies, Elgar was in a state of exaltation. orchestral preparation and singers who really Thereafter he descended into the depths understood the quasi-operatic nature of the of depression and pessimism. He was an piece. This took him seven months, leaving idealist, almost naïve. He would have agreed only a few weeks – which included the August
8 holiday period – for the score and parts to be This is not fanciful. When we hear the three printed and corrected (and revised), and for bars of orchestral music after the Demons’ the soloists, conductor, chorus, and orchestra Chorus, which precedes Gerontius’s ‘I see to learn the music. Not surprisingly, they not those false spirits’, we may remember failed to do so. After all, the festival comprised reference that Elgar made to them: more than just Gerontius. Elgar realised at the I meant that theme to mean an indefinable final rehearsals that all was lost, he insulted feeling that there’s more around you than the choir, Richter tried to retrieve a hopeless you know: have you ever been in a pitch situation – and the inevitable disaster followed. dark room and have felt the presence of Elgar retreated to Malvern, saying God was people or a person when you have had no against art and that he would never write proof or knowledge that anyone’s there – another religious work. He then welcomed the I have and it feels like that. twentieth century by composing the cheerful, It still does. Elgar is there, in every note of optimistic overture Cockaigne. every bar. Gerontius survived. Within a few years it had triumphed in Germany, and every British Parry: Blest Pair of Sirens society was including it in its programmes. We tend to think of Sir Hubert Parry Today it fulfils an almost mystical role in the (1848 – 1918) as belonging to the generation lives of those who know it and love it. No need before that of Elgar, but he was in fact only in the late 1980s to detail its beauties, its nine years older and they may therefore moments of drama, its mixture of styles and be regarded as contemporaries. But with a influences from Gregorian chant to Wagner’s background and education very different Parsifal, nor to call attention to the masterly from Elgar’s – scion of the squirearchy, Eton use of the orchestra, the plasticity and power and Oxford – he was well launched into his of the choral writing, and the great music career by the year 1880, when Elgar was given to the soloists – they are as well known still an unknown, struggling organist and as the glories of Messiah and the St Matthew violinist in Worcester. Later, Elgar played in Passion. the orchestra of the Three Choirs Festival in But perhaps the chief mystery and magic performances of Parry’s works. With certain of The Dream of Gerontius is the overpowering reservations, he admired Parry’s music and sense of Elgar’s own presence in the score. there is no doubt that his ceremonial style,
9 with its nobility and loftiness, derived from sovereign enters Westminster Abbey. Its a similar vein in Parry, as can be heard in the Maestoso opening is superbly appropriate – two works on this disc. even Elgar wrote nothing finer in this Elgar certainly had the highest regard for line. The antiphonal setting of the lines Blest Pair of Sirens, as had Vaughan Williams. ‘Jerusalem is builded’ is highly effective This setting of words from Milton’s ode At a and – in the Coronation version only – Parry Solemn Musick was composed for the Bach then incorporated the shouts of ‘Vivat Choir, under Stanford’s conductorship, in Rex (Regina)’ by the Queen’s Scholars of 1887, the year of Queen Victoria’s golden Westminster School. ‘O pray for the peace of jubilee. It has remained a favourite with choirs Jerusalem’ rises from a devout quietness to a ever since and could equally aptly have been rousing, march-like finish. called Serenade to Music. The orchestral © Michael Kennedy introduction anticipates an Elgarian sound in its broad ascending melodic phrases. The choir enters quietly but soon embarks on a Since she became a mezzo-soprano in the more vigorous section leading to the return early 1980s, Felicity Palmer has performed of the principal theme on the orchestra alone. operatic roles that include Brangäne (Tristan The work has been called Brahmsian in its und Isolde), Adriano (Rienzi), and Lyubov construction and its mingling of strength (Mazeppa) at English National Opera, and the and sweetness. At the lines ‘O may we soon title roles in Agrippina, at Kent Opera, and again renew that song, / And keep in tune with Gluck’s Armide, at the Spitalfields Festival. Heav’n’, the women’s voices enter lyrically, More recently she has made operatic and gradually the whole chorus builds a appearances in Gluck’s Orfeo ed Euridice climax appropriate to the ‘endless morn of and Handel’s Tamerlano at Opera North, the light’. latter touring to Halle and Berlin as part of Handel’s Tercentenary celebrations; Florence Parry: I was glad Pike (Albert Herring) at Glyndebourne Festival The anthem I was glad was composed for Opera, and Andromache (King Priam) at The the coronation of King Edward VII in 1902 Royal Opera, Covent Garden. She made her and has been sung at the three subsequent debut as Kabanicha (Kát’a Kabanová) at Lyric coronations (1911, 1937, and 1953) as the Opera of Chicago and as Marguerita (the
10 world premiere of Flavio Testi’s Riccardo III) at Garden in Henze’s We Come to the River, and Teatro alla Scala, Milan. She has recently sung has appeared there in Lucia di Lammermoor Herodias (Salome) and the Mother and the and as Alfredo (La traviata), the Italian Tenor Witch (Hänsel und Gretel) at English National (Der Rosenkavalier), and Števa (Jenůfa). With Opera, and Kabanicha at De Nederlandse Scottish Opera at the Edinburgh International Opera. In concert she has been engaged for Festival he has sung the Fox (The Cunning performances on the South Bank and at the Little Vixen) and David (Die Meistersinger BBC Promenade Concerts as well as at major von Nürnberg). He has sung with English musical centres on the European continent. National Opera as the Duke (Rigoletto), She took part in a performance of The Dream Alfredo, and in the title roles of Gounod’s of Gerontius conducted by Yevgeny Svetlanov Faust and Massenet’s Werther. At Opera North at the Moscow Conservatory and undertook his roles have included Jeník (The Bartered a European tour with the BBC Symphony Bride), Pinkerton (Madama Butterfly), and Orchestra, singing Mahler’s Kindertotenlieder Don José. Abroad, Arthur Davies has appeared with Paavo Berglund. Felicity Palmer is in Chicago, Cincinnati, Connecticut, Ghent, an accomplished recitalist and has sung Leipzig, Lisbon, Moscow, New Orleans, New at the Concertgebouw in Amsterdam, the York (The Metropolitan Opera), Santiago di Musikverein in Vienna, and in The Hague, Chile, and Seville. Recently he appeared in Paris, and Frankfurt. She has appeared often performances of Verdi’s Requiem at the Royal with the Songmakers’ Almanac in London and Festival Hall, London with the Philharmonia at music festivals in England, and has given Orchestra under Carlo Maria Giulini. recitals in London and at the Bath Festival. One of the world’s leading basses, Gwynne Born in Wrexham, North Wales, Arthur Davies Howell was born near Swansea. He obtained studied at the Royal Northern College of degrees from the University College of Music. He first joined Welsh National Opera, Wales and the University of Manchester where his roles included Nemorino (L’elisir before pursuing his vocal studies at the d’amore), the title role in Albert Herring, Royal Northern College of Music. He joined Nadir (Les Pêcheurs de perles), Rodolfo Sadler’s Wells Opera in 1968, and in 1972 (La bohème), and Don José (Carmen). He moved to The Royal Opera, Covent Garden made his debut at The Royal Opera, Covent where he has sung most of the major bass
11 roles in the Italian, German, French, and At the time of his untimely death at the age of Russian repertoire. He has returned regularly sixty in November 2008, Richard Hickox CBE, as a guest to English National Opera, most one of the most gifted and versatile British notably as Hans Sachs (Die Meistersinger von conductors of his generation, was Music Nürnberg), Philip II (Don Carlos), the title role Director of Opera Australia, having served in Duke Bluebeard’s Castle, and Gurnemanz as Principal Conductor of the BBC National (Parsifal) under Sir Reginald Goodall. He has Orchestra of Wales from 2000 until 2006 when also appeared as a guest with Welsh National he became Conductor Emeritus. He founded the Opera where he has sung King Mark (Tristan City of London Sinfonia, of which he was Music und Isolde), also conducted by Sir Reginald Director, in 1971. He was also Associate Guest Goodall. His extensive international career Conductor of the London Symphony Orchestra, in opera has taken him to The Metropolitan Conductor Emeritus of the Northern Sinfonia, Opera in New York, Lyric Opera of Chicago, and and co-founder of Collegium Musicum 90. opera companies in San Francisco, Santa Fe, He regularly conducted the major Toronto, Hamburg, Paris, Geneva, and Brussels. orchestras in the UK and appeared many times He enjoys a highly successful concert career at the BBC Proms and at the Aldeburgh, Bath, and has appeared all over the world with and Cheltenham festivals, among others. leading conductors such as Sir Colin Davis, With the London Symphony Orchestra at the Antal Doráti, Claudio Abbado, Daniel Barenboim, Barbican Centre he conducted a number of Pierre Boulez, Leonard Bernstein, Carlo Maria semi-staged operas, including Billy Budd, Giulini, Riccardo Muti, Lorin Maazel, Seiji Ozawa, Hänsel und Gretel, and Salome. With the Zubin Mehta, James Levine, Bernard Haitink, Bournemouth Symphony Orchestra he gave and Giuseppe Sinopoli. He has appeared with the first ever complete cycle of Vaughan the Chicago Symphony Orchestra and Sir Georg Williams’s symphonies in London. In the Solti in concert performances of Oedipus rex course of an ongoing relationship with the and Fidelio, and with the Boston Symphony Philharmonia Orchestra he conducted Elgar, Orchestra and Ozawa he has sung Bluebeard. Walton, and Britten festivals at the South Bank Other concert engagements have taken and a semi-staged performance of Gloriana at Gwynne Howell to the Salzburg Festival, the Aldeburgh Festival. Edinburgh International Festival, and other Apart from his activities at the Sydney leading festivals. Opera House, he enjoyed recent engagements
12 with The Royal Opera, Covent Garden, English by Vaughan Williams with the London National Opera, Vienna State Opera, and Symphony Orchestra, and a series of operas Washington Opera, among others. He guest by Britten with the City of London Sinfonia. conducted such world-renowned orchestras He received a Grammy (for Peter Grimes) as the Pittsburgh Symphony Orchestra, and five Gramophone Awards. Richard Orchestre de Paris, Bavarian Radio Symphony Hickox was awarded a CBE in the Queen’s Orchestra, and New York Philharmonic. Jubilee Honours List in 2002, and was the His phenomenal success in the recording recipient of many other awards, including studio resulted in more than 280 recordings, two Music Awards of the Royal Philharmonic including most recently cycles of orchestral Society, the first ever Sir Charles Groves works by Sir Lennox and Michael Berkeley Award, the Evening Standard Opera Award, and Frank Bridge with the BBC National and the Award of the Association of British Orchestra of Wales, the symphonies Orchestras.
13 Felicity Palmer Elgar: Der Traum des Gerontius
Manchmal kommt das richtige Werk zur Die Apostel und Das Reich 1903 bzw. 1906 auf rechten Zeit. So war es angemessen, daß die Bibel und versuchte, die Operntechnik von Der Traum des Gerontius von Sir Edward Elgar Wagners Der Ring des Nibelungen mit dem (1857 – 1934) seine Uraufführung drei Monate ekklesiastischen Drama der Bach-Passionen vor dem Ende des neunzehnten Jahrhunderts zu verbinden. Beide Oratorien haben überlebt, erlebte, denn seit dem Erfolg von weil sie von der musikalischen Qualität her Mendelssohns Elijah auf den Birminghamer dem übrigen zeitgenössischen Material Festspielen 1846 hatten sich englische deutlich überlegen sind, aber leicht ist Komponisten religiösen Chorwerken intensiv ihnen der Kampf nicht gefallen, und ohne gewidmet. Schlag auf Schlag wurden sie besondere Plädoyers durch Befürworter ihrer inszeniert, in Birmingham, Sheffield, Leeds, Pracht wäre es wohl nicht gegangen. Worcester, Gloucester, Hereford und Crystal Doch in den letzten Tagen des Palace. Keines dieser Werke kommt heute viktorianischen Jahrhunderts kam Der Traum noch zu Gehör (ausgenommen nur Parrys des Gerontius als Beweis dafür, daß ein Hiob). Bernard Shaw sprach von einem englischer Komponist durchaus zu einem “Oratoriumsmarkt” und schrieb 1890: religiösen Chorwerk imstande war, das mit Jedes Jahr auf den Provinzfestspielen den Werken der großen Meister in einem läßt irgendein öder Doktor der Musik Atemzug genannt werden konnte. Es war seinen Kontrapunkt an einem Schwall kein biblischer Text, und von der Form her scheußlichen Geschwätzes aus, unter war das Werk weder Oratorium noch Kantate. dem Titel Mesopotamien oder sonst eines Elgar lehnte die Beschreibung “durch diesen gesegneten Wortes. schrecklichen Begriff ‘heilige Kantate’” ab Frederick Delius, dem antichristlichen Heiden und erlaubte Novello’s die Aufnahme in die unter den englischen Komponisten seiner Oratoriumskategorie nur, weil “bisher noch Zeit zufolge hätte Parry “wohl die ganze Bibel kein Wort zu seiner Beschreibung erfunden vertont, wenn er lange genug gelebt hätte!” worden ist”. In der Partitur heißt es nur Elgar selbst bezog sich bei seinen Libretti für “vertont”, und so ist es: Kardinal Newmans
15 Gedicht über die Seele eines Menschen Schlußseiten, auf denen der Engel über auf dem Weg zum Jüngsten Gericht und den singenden Stimmen im Himmel und auf Fegefeuer, vertont von Elgar. Das war Erden die Seele des Gerontius ekstatisch überhaupt die größte Ironie – daß die Krönung verabschiedet, bannt die Musik den Hörer in im Streben eines englischen Jahrhunderts ihrer Atmosphäre. nicht auf der anglikanischen Tradition Wo der Anfang liegt, wissen wir beruhte, sondern auf den Worten eines nicht genau. Jahrelang trug sich Elgar prominenten Überläufers zum Katholizismus wahrscheinlich nur mit dem Gedanken, sich und der Musik eines katholischen eines Tages dem Projekt zu widmen. Oft heißt Komponisten. es, er habe das Gedicht kennengelernt, als Der bemerkenswerteste Aspekt am Traum er es 1889 als Hochzeitsgeschenk bekam. des Gerontius, der auch erklärt, warum die Das ist nicht so. Er kannte es schon Jahre Umstände der Uraufführung folkloristische vorher. Veröffentlicht wurde es 1865, als Musikgeschichte gemacht haben, bestand er acht Jahre alt war, und wir dürfen davon in dem instinktiven Wissen Elgars, daß er im ausgehen, daß er es in den Siebziger Jahren Begriff stand, etwas ganz Besonderes zu zum erstenmal las. Ganz bestimmt war er komponieren. Nach der Vollendung des Werks dann 1885 damit vertraut, denn in jenem Jahr zitierte er auf dem Autographen Ruskin: “Hier fiel General Gordon in der Belagerung von ist mein Bestes … wenn überhaupt etwas Khartoum, zur Erschütterung der Nation und von mir, so ist dies Ihrer Erinnerung wert.” zum Zorn Königin Viktorias, die Gladstone Er habe es aus seinem “innersten Inneren” für die Verspätung der Entlastungstruppen geschaffen, bekannte Elgar einem Freund, verantwortlich machte. Gordon bildet eines und einem anderen schrieb er: der emotionalen Bindeglieder zwischen Elgar Sie werden feststellen, daß Gerontius alles, und der Gerontius-Musik. was ich bisher getan habe, bei weitem Gordon war in den Besitz eines Exemplars übertrifft … ich habe mein eigenes Herzblut des Newman-Gedichts gekommen, bevor in die Partitur geschrieben. er England in Richtung Ägypten verließ. Es Von der trauervollen Eröffnung des sprach ihn besonders an, weil es einem Präludiums durch Klarinette, Fagotte und Namensvetter gewidmet war. In seinem Violas und dem qualvollen Einsatz des Exemplar strich er die Passagen, in denen er Englischhorns im fünften Takt bis zu den besonderen Trost und Inspiration fand, an. Als
16 er einem Journalisten befahl, Khartoum um an einem Werk über die Jünger zu arbeiten, seiner eigenen Sicherheit willen zu verlassen, unter besonderer Berücksichtigung von vertraute er ihm das Buch an. Nach dem Tod Judas, aber auch dieser Gedanke reifte nicht Gordons fanden die angemerkten Passagen aus. Das Problem löste sich am Neujahrstag weite Verbreitung, und Elgar übertrug sie in 1900, als der Vorsitzende des Festival- sein eigenes Exemplar. Zwei Jahre später Komitees, G.H. Johnstone, ein wohlhabender, verlobte er sich mit der Generalstochter Alice kultivierter Kommunalpolitiker, Elgar in Roberts, und als ihre Mutter starb, lieh Elgar Malvern aufsuchte und ihn daran erinnerte, ihr Gerontius, damit sie ihr eigenes Exemplar daß er einmal erwähnt habe, Newmans mit Gordons Anmerkungen versehen konnte. Traum des Gerontius zu vertonen. Warum Gordons Tod, den dieser fast nicht für Birmingham? Elgar erklärte sich herbeigebeten zu haben schien, ließ Elgar einverstanden, und Johnstone traf die nicht zur Ruhe kommen; jahrelang überlegte finanziellen Absprachen mit einem zögernden er, wie er den General musikalisch verewigen Novello’s. Aus dem vorgesehenen Judas- konnte. 1898 sprach er von einer Gordon- Thema wurde stattdessen das flehende Sinfonie für das Three Choirs Festival und Gebet des Engels der Pein. skizzierte ein Thema dafür. Obwohl er sich Wie seine Korrespondenz mit dem dann nicht imstande fühlte, zu diesem Verlagsleiter von Novello’s, A.J. Jaeger Zeitpunkt ein volles sinfonisches Werk in (“Nimrod”), bezeugt, befand sich Elgar Angriff zu nehmen, wurde das Thema nicht während dieser Kompositionszeit in einem verschwendet. Man hört es nun im “Go ständigen Zustand des Hochgefühls. forth”-Chor, der Teil I des Traum des Gerontius Danach verfiel er in tiefste Depression und beschließt; Gordon steht also mit Gerontius Pessimismus. Er war Idealist, fast naiv. in unmittelbarer musikalischer Verbindung. Er hätte Strauss’ Komponisten in Ariadne Im weiteren Verlauf des Jahres 1898, nach auf Naxos (“Musik ist eine heilige Kunst”) dem Erfolg von Caractacus auf dem Leeds zugestimmt. Seine Briefe zeigen, wie sehr ihm Festival, beauftragte ihn Birmingham mit die kommerzielle Seite der Musik verhaßt war, der Komposition des neuen Hauptwerkes und plötzlich wurden er und seine Musik von für seine Festspiele im Jahr 1900. Zuerst diesem Strudel erfaßt: Streit über Tantiemen, dachte Elgar an St. Augustus, doch diese Probleme mit der Benutzungsgebühr für das Idee wurde verworfen. Daraufhin begann er, Libretto, Kleinkrämerei über das Honorar für
17 Jaeger und seinen analytischen Text. Als die ganz zu schweigen. Kein Wunder, daß es Uraufführung am 3. Oktober 1900 dem Werk nicht gelang. Schließlich bestanden die wenig Gerechtigkeit widerfahren ließ, obwohl Festspiele nicht nur aus Gerontius. Bei den es doch von dem großen Hans Richter, der Abschlußproben schwante Elgar Schlimmes, 1899 so erfolgreich die Enigma-Variationen er beleidigte den Chor, Richter versuchte, vorgestellt hatte, dirigiert wurde, war Elgar die hoffnungslose Situation zu retten – am Boden zerstört. unweigerlich kam es zum Desaster. Elgar zog Das Gerontius-Debakel hatte verschiedene sich nach Malvern zurück, bezichtigte Gott praktische Gründe, vor allem die Unfähigkeit der Kunstfeindlichkeit und erklärte, nie wieder Richters, der Partitur Herr zu werden und werde er ein religiöses Werk schreiben. ihre Schwierigkeiten zu begreifen, sowie den Sodann hieß er mit der ausgelassenen, unglücklichen Tod des verständnisvollen optimistischen Cockaigne-Ouvertüre das Chorleiters noch vor Beginn der Proben, so neue Jahrhundert willkommen. daß man gezwungen war, seinen greisen Gerontius überlebte. Innerhalb weniger und zu dieser Zeit bereits inkompetenten Jahre feierte man das Werk in Deutschland, Vorgänger aus dem Ruhestand zu holen. und jede britische Gesellschaft nahm es in ihr Inzwischen ist aber auch klar, daß Elgar Programm auf. Heute spielt es eine geradezu durch seine Säumigkeit bei der Entscheidung mystische Rolle im Leben jener, die es kennen auf ein Thema die Hauptschuld an der und schätzen. In den späten 1980er Jahren Affäre trug. Er komponierte ein Werk, braucht man kaum noch seine Schönheit zu dessen musikalische Gezeiten einem beschreiben, seine dramatischen Momente, Festival-Chor völlig neu waren, gründliche die Verschmelzung von Stilrichtungen und Orchestervorbereitungen und Sänger Einflüssen vom Gregorianischen Gesang bis zu erforderten, die den opernähnlichen Wagners Parsifal. Ebensowenig verkennt man Charakter des Stückes begriffen. Er brauchte den meisterhaften Einsatz des Orchesters, die dafür sieben Monate, so daß nur noch wenige Plastizität und Kraft der Chorpartien und die Wochen – auch noch über die Ferien im Großartigkeit der Solostimmen – sie reichen in August hinweg – für den Druck, die Korrektur ihrem Ruhm an den Messiah und die Matthäus- (und Revision) der Partitur und Stimmen Passion heran. blieben, von der Einstudierung der Musik Geheimnisvoller und rätselhafter als alles durch Solisten, Dirigent, Chor und Orchester andere ist am Traum des Gerontius jedoch
18 vielleicht das überwältigende Gefühl, daß inmitten seiner Karriere stand. Später wirkte Elgar selbst in der Partitur lebt. Das ist Elgar als Orchestermusiker auf dem Three keine Phantasterei. Wenn wir die drei Takte Choirs Festival an der Aufführung von Parry- Orchestermusik nach dem Dämonenchor Werken mit. Unter gewissen Vorbehalten hören, der den Gerontius-Worten “I see not bewunderte er die Musik Parrys, und those false spirits” (Die falschen Geister zweifellos leitet sich der zeremonienhafte Stil erblicke ich nicht) vorausgeht, erinnern wir in seinem Edelmut und seiner Erhabenheit uns der Erklärung Elgars: von einer ähnlichen Tendenz Parrys ab, wie Ich wollte mit diesem Thema ein in den beiden Werken auf dieser CD zum unerklärliches Gefühl auslösen, daß man Ausdruck kommt. mehr um sich herum hat, als man glaubt; Ohne Frage zollte Elgar, wie ja auch haben Sie sich je in einem völlig dunklen Vaughan Williams, Blest Pair of Sirens Raum aufgehalten und die Anwesenheit höchste Anerkennung. Diese Vertonung einer oder mehrerer anderer Personen von Auszügen aus Miltons Ode At a Solemn gespürt, wenn Sie weder Beweise dafür Musick entstand 1887, dem Jahr des haben noch davon wissen? Mir ist es so Goldenen Jubiläums von Königin Viktoria, ergangen, und so fühlt es sich an. für den Bach Choir unter Leitung Stanfords. Immer noch. Elgar ist präsent, in jeder Note Seitdem hat es unter Chören an Popularität jedes Taktes. nichts eingebüßt. Ebenso gut hätte das Werk Serenade to Music betitelt werden können. Parry: Blest Pair of Sirens Die Orchestereinführung nimmt mit ihren breit Wir glauben gerne, daß Sir Hubert Parry aufstrebenden melodischen Phrasen den (1848 – 1918) Elgars Vorgeneration angehörte, Klang Elgars vorweg. Der Chor setzt leise ein, aber er war nur neun Jahre älter, so daß man geht aber schon bald in einen energischeren beide als Zeitgenossen betrachten muß. Abschnitt über, der zur Rückkehr des Allerdings verdankte er seinem Milieu und Hauptthemas im Orchester führt. In seinem seiner Erziehung – Landadelssproß, Eton Aufbau und dem Gegenspiel von Kraft und und Oxford –, daß er 1880, als der aus völlig Lieblichkeit hat man dem Werk Brahms’schen anderen Verhältnissen kommende Elgar noch Charakter zugesprochen. Mit den Zeilen als unbekannter Organist und Violinist in “O may we soon again renew that song, / And Worcester um seine Existenz rang, bereits keep in tune with Heav’n” setzen lyrisch
19 die Frauenstimmen ein, und nach und nach nicht sein – selbst Elgar legte in dieser strebt der gesamte Chor einem dem “endless Beziehung nichts Schöneres vor. Die morn of light” (endloser Morgen des Lichts) antiphone Anlage der Zeilen “Jerusalem is angemessenen Höhepunkt zu. builded” hat ungeheuren Effekt, und Parry nahm dann (nur in die Krönungsversion) Parry: I was glad die Salute “Vivat Rex (Regina)” der Queen’s Das Anthem I was glad entstand 1902 für Scholars der Westminster School auf. die Krönung König Eduards VII., und wurde “O pray for the peace of Jerusalem” erhebt im Rahmen dreier weiterer Krönungsfeiern sich aus frommer Andacht zu einem (1911, 1937, 1953) gesungen, während die packenden, marschähnlichen Finale. Monarchen Westminster Abbey betraten. Trefflicher könnte die Eröffnung in Maestoso © Michael Kennedy
20 Elgar: Le Rêve de Gerontius
Une œuvre arrive parfois au bon moment. longtemps!” Quant à Elgar, il assembla les Il est tout à fait approprié que Le Rêve livrets des Apôtres (The Apostles) et du de Gerontius (The Dream of Gerontius) de Royaume (The Kingdom) en 1903 et 1906 à Sir Edward Elgar (1857 – 1934) ait été exécuté partir de la Bible et tenta d’allier la technique pour la première fois trois mois avant la fin d’opéra de Der Ring des Nibelungen de du dix-neuvième siècle, car les compositeurs Wagner au tragique ecclésiastique des anglais s’intéressaient beaucoup à la Passions de Bach. Ces deux oratorios musique chorale religieuse depuis le succès ont survécu parce que leur musique est du Elijah de Mendelssohn au festival de sensiblement supérieure à celle de ses Birmingham de 1846. Leurs œuvres furent contemporains, mais il a fallu aussi pour créées l’une après l’autre à Birmingham, cela les nombreux plaidoyers de ceux qui Sheffield, Leeds, Worcester, Gloucester, croyaient en leur splendeur. Hereford et au Crystal Palace à Londres. Avec les derniers jours du siècle et de Aucune n’est jouée aujourd’hui (à l’exception l’ère victorienne, Le Rêve de Gerontius vint peut-être de Job de Parry). Bernard Shaw néanmoins prouver qu’un compositeur décrivit ce “marché de l’oratorio”, déclarant anglais pouvait écrire une œuvre chorale en 1890 que religieuse comparable à celles des plus chaque année aux festivals de province grands maîtres. Son texte n’était pas quelque ennuyeux docteur en musique biblique, et ce n’était ni un oratorio, ni une décharge son contrepoint sur une série de cantate. Elgar ne voulait pas que son œuvre fadaises excécrables avec Mésopotamie soit décrite “par ce terme affreux, cantate ou tout autre mot du même genre pour sacrée” et il ne permit à l’éditeur Novello de titre. l’inclure dans sa liste d’oratorios que parce Frederick Delius, seul paien antichrétien que, selon ses propres mots, “on n’a pas parmi les compositeurs de son époque, encore inventé un autre mot pour la décrire”. observa que Parry “aurait mis en musique La partition dit simplement “mis en musique”, la Bible toute entière s’il avait vécu assez et c’est bien de cela qu’il s’agit: le poème du
21 cardinal Newman sur le voyage d’une âme On n’est pas certain de la date de l’origine humaine vers le jugement et le purgatoire sur de l’œuvre. Pendant de nombreuses années, une musique d’Elgar. Par une ironie du sort, le Elgar y pensa probablement comme à couronnement des efforts du siècle est issu quelque chose qu’il pourrait faire un jour. On non pas de la tradition anglicane, mais du dit souvent qu’il découvrit le poème quand il texte d’un célèbre converti au catholicisme lui fut donné comme cadeau de mariage en et de la musique d’un compositeur 1889. Mais c’est faux. Il le connaissait depuis catholique. de nombreuses années. Il avait été publié en Fait important à noter au sujet du Rêve 1865, alors qu’il avait huit ans, et l’on peut de Gerontius, et qui explique pourquoi les supposer qu’il le lut dans les années 1870. Il circonstances de la première exécution le connaissait certainement en 1885, l’année font maintenant partie du folklore de la de la mort du général Gordon lors du siège de musique anglaise, Elgar était conscient Khartoum, qui choqua la nation et remplit de d’écrire quelque chose de très spécial. Quand colère la reine Victoria, qui blâma Gladstone il l’eut terminé, il cita Ruskin sur la partition pour le retard à envoyer des renforts. Gordon manuscripte: “C’est le meilleur de moi-même… est l’un des liens émotifs entre Elgar et la ceci, plus qu’aucune autre de mes œuvres, musique de Gerontius. mérite que vous vous en souveniez.” L’œuvre Avant de quitter l’Angleterre pour était écrite “du plus profond de moi-même”, l’Égypte, Gordon avait reçu en cadeau un confia-t-il à un ami, et à un autre il écrivit que exemplaire du poème de Newman. Il lui vous trouverez que Gerontius va bien plaisait particulièrement parce qu’il était au-delà tout ce que j’ai fait jusque-là… J’ai dédié à un homme du nom de Gordon. Il écrit la partition avec mon propre sang. marqua dans son livre les passages dans De l’ouverture solennelle du Prélude, à la lesquels il trouvait consolation et inspiration. clarinette, bassons et altos, avec l’entrée Lorsqu’il ordonna à un journaliste de quitter déchirante du cor anglais à la cinquième Khartoum pour des raisons de sécurité, il lui mesure, jusqu’aux dernières pages où confia ce livre. Après la mort de Gordon, ses l’Ange fait ses adieux extatiques à l’Âme de annotations du poème furent portées à la Gerontius sur la psalmodie des voix au ciel et connaissance du public, et Elgar les ajouta sur la terre, la musique crée une atmosphère à son exemplaire du poème. Deux ans plus qui enveloppe l’auditeur comme un linceul. tard, Elgar se fiança à Alice Roberts, fille de
22 général, à laquelle, quand sa mère mourut, une fois de mettre en musique Le Rêve de il prêta son Gerontius pour qu’elle puisse Gerontius de Newman. Pourquoi ne pas en transférer les annotations de Gordon sur son faire l’œuvre commandée par Birmingham? exemplaire à elle. Elgar acquiesça et Johnstone régla les détails La mort de Gordon – que celui-ci avait financiers avec un Novello hésitant. Le thème semblé presque inviter – affecta Elgar, qui écrit à l’intention de Judas devint l’implorante se demanda pendant plusieurs années prière de l’Ange de l’Agonie. comment le commémorer en musique. Il Elgar vécut toute la composition de parla en 1898 d’une Symphonie Gordon pour l’œuvre dans un état d’exaltation, comme le festival “Three Choirs” (les chœurs des le témoigne sa correspondance avec le trois cathédrales de Gloucester, Hereford et directeur de la publication de Novello, Worcester) et en esquissa un thème. Il ne A.J. Jaeger. Il sombra ensuite dans une se sentit pas capable à l’époque d’aborder dépression et un pessimisme profond. une œuvre symphonique à grande échelle, C’était un idéaliste, presque naïf. Il aurait mais le thème ne fut pas perdu. On peut été d’accord avec le Compositeur d’Ariadne l’entendre maintenant dans le chœur “Go auf Naxos de Strauss: “La musique est un forth” qui termine la première partie du Rêve art sacré.” Ses lettres montrent combien il de Gerontius; tel est donc le lien musical détestait le côté commercial de la musique, direct entre Gordon et Gerontius. Plus tard où lui et son Gerontius bien-aimé se cette même année, après le succès de trouvèrent soudain plongés: querelles sur Caractacus au festival de Leeds, Birmingham les droits d’auteur, difficultés de paiement demanda à Elgar de composer l’œuvre pour l’utilisation du livret, mesquineries sur nouvelle principale pour son festival de 1900. la somme à verser à Jaeger pour l’écriture Sa première idée fut Saint Augustin, mais elle d’une analyse de l’œuvre. La première, le fut rejetée. Il commença alors une œuvre sur 3 octobre 1900, bien que dirigée par le grand les Apôtres, avec l’accent sur Judas, qui n’eut Hans Richter qui avait créé les Variations pas de suite non plus. Le problème fut résolu Enigma avec tant de succès en 1899, fit le 1er janvier 1900 lorsque G.H. Johnstone, insuffisamment justice à l’œuvre, et Elgar fut président du comité du festival, et conseiller démoralisé. municipal riche et cultivé, rendit visite à Plusieurs raisons expliquent la débâcle Elgar à Malvern et lui rappela qu’il avait parlé de Gerontius, en particulier le fait que Richter
23 ne parvint pas à maîtriser la partition, ni à Il accueillit ensuite le vingtième siècle en apprécier ses difficultés, et la malchance qui composant l’ouverture Cockaigne, œuvre fit que le maître de chœur qui comprenait joyeuse et optimiste. l’œuvre mourut avant le début des répétitions Gerontius survécut. En l’espace de et que son prédécesseur, alors très âgé quelques années, l’œuvre fit un triomphe et incompétent, dut être tiré d’urgence de en Allemagne et toutes les Sociétés sa retraite. Mais on se rend compte avec britanniques l’inclurent dans leurs le recul que la principale raison était le programmes. Elle remplit aujourd’hui un rôle retard d’Elgar lui-même à choisir un sujet. Il presque mystique dans la vie de ceux qui la composa une œuvre dans laquelle le flux et connaissent et l’apprécient. Nul n’est besoin le reflux de la musique était quelque chose de nos jours d’énumérer ses beautés, ses qu’aucun chœur de festival n’avait rencontré moments dramatiques, son mélange de jusque-là, exigeant une préparation styles et d’influences du chant grégorien orchestrale minutieuse et des chanteurs qui au Parsifal de Wagner, ni d’attirer l’attention en comprennent vraiment la nature de quasi- sur l’utilisation magistrale de l’orchestre, la opéra. La composition lui prit sept mois, plasticité et la puissance de l’écriture chorale laissant quelques semaines seulement – et la beauté de la musique donnée aux y compris la période de vacances du mois solistes – tout ceci est aussi connu que les d’août – pour que la partition et les parties splendeurs du Messiah et de la Passion selon d’orchestre soient imprimées, corrigées Saint Matthieu. (et révisées), et pour que les solistes, chef Mais le principal mystère et la magie du d’orchestre, chœur et orchestre apprennent Rêve de Gerontius tiennent peut-être au la musique. Leur échec n’est guère sentiment irrésistible de la présence d’Elgar surprenant. Après tout, Gerontius n’était pas dans la partition. Il n’y a là rien d’imaginaire. la seule œuvre du festival. Elgar réalisa aux Quand on entend les trois mesures de dernières répétitions que tout était perdu, il musique orchestrale après le chœur des insulta le chœur, Richter essaya de sauver Démons qui précède l’air “I see not those une situation désespérée – et le désastre false spirits” de Gerontius, on se souvient de inévitable s’ensuivit. Elgar se retira à Malvern, la manière dont Elgar y a fait référence: déclarant que Dieu était contre l’art et que Mon intention est que ce thème donne jamais plus il n’écrirait d’œuvre religieuse. le sentiment indéfinissable qu’il y a
24 davantage autour de vous que ce que vous de passages de l’ode de Milton At a Solemn connaissez: avez-vous jamais été dans une Musick fut composée pour le Bach Choir, pièce noire et senti la présence d’une ou dirigé par Stanford, en 1887, l’année du plusieurs personnes sans avoir la preuve, ni cinquantième jubilé de la reine Victoria. la certitude qu’il y a quelqu’un – cela m’est Cette œuvre a toujours été depuis une arrivé et c’est cela que j’ai ressenti. favorite des chœurs, et aurait pu tout aussi Le sentiment est toujours le même. Elgar est justement être appelée Serenade to Music. présent, dans chaque note de chaque mesure. L’introduction orchestrale, par ses larges phrases mélodiques ascendantes, annonce Parry: Blest Pair of Sirens le son elgarien. Le chœur commence On a tendance à considérer Sir Hubert doucement, mais aborde rapidement une Parry (1848 – 1918) comme appartenant à la section plus vigoureuse qui mène au retour génération qui précède celle d’Elgar, mais il du thème principal à l’orchestre seul. n’avait en fait que neuf ans de plus et on peut L’œuvre a été qualifiée de brahmsienne par donc les considérer comme contemporains. sa construction et son mélange de force et Mais grâce à son milieu (la noblesse terrienne) de douceur. Les voix de femmes font une et son éducation (Eton et Oxford) très entrée lyrique au vers “O may we soon again différents de ceux d’Elgar, sa carrière était renew that song, / And keep in tune with déjà bien lancée en 1880, alors qu’Elgar n’était Heav’n”, et le chœur entier progresse vers encore qu’un organiste et violoniste inconnu une apothéose appropriée à l’“infini matin de à Worcester. Plus tard, Elgar interpréta des lumière”. œuvres de Parry dans l’orchestre du festival des “Three Choirs”. Il admirait la musique Parry: I was glad de Parry, avec quelques réserves, et il n’y a L’anthem I was glad, composé pour le aucun doute que son style solennel, avec sa couronnement d’Édouard VII en 1902, a été noblesse et son élévation, est de la même chanté aux trois couronnements suivants veine, comme on peut le constater dans les (1911, 1937, 1953) au moment de l’entrée du deux œuvres de cet enregistrement. souverain dans l’abbaye de Westminster. Sa Elgar, comme Vaughan Williams, avait superbe ouverture Maestoso est tout à fait certainement la plus grande estime pour de circonstance – même Elgar n’a rien écrit Blest Pair of Sirens. Cette mise en musique de plus beau dans le genre. La forme alternée
25 de “Jerusalem is builded” est d’un effet peace of Jerusalem” passe progressivement puissant; Parry y introduisit – dans la version d’une quiétude dévote à la vibrante marche du couronnement seulement – les cris de de conclusion. “Vivat Rex (Regina)” par les Queen’s Scholars de l’école de Westminster. “O pray for the © Michael Kennedy
26 COMPACT DISC ONE In perfect diapason, whilst they stood In first obedience, and their state of good. 1 Blest Pair of Sirens O may we soon again renew that song, (At a Solemn Musick) And keep in tune with Heav’n, till God ere long Blest pair of Sirens, pledges of heav’n’s joy, To His celestial concert us unite, Sphere-born harmonious sisters, Voice and To live with Him, and sing in endless morn [Verse, [of light. Wed your divine sounds, and mixed pow’r John Milton (1608 – 1674) [employ, Dead things with inbreathed sense able to [pierce. And to our high-raised phantasy present 2 I was glad That undisturbèd song of pure concent, I was glad when they said unto me, Aye sung before the sapphire-coloured we will go into the house of the Lord. [throne Our feet shall stand in thy gates, To Him that sits thereon, [O Jerusalem. With saintly shout and solemn jubilee; Jerusalem is builded as a city, Where the bright Seraphim in burning row, that is at unity in itself. Their loud, uplifted angel-trumpets blow, And the cherubic host in thousand quires, Vivat Regina Elizabetha! Touch their immortal harps of golden wires, With those just Spirits that wear victorious O pray for the peace of Jerusalem, [palms, they shall prosper that love thee. Hymns devout and holy psalms Peace be within thy walls, and plenteousness. Singing everlastingly: Psalm 122: 1 – 3, 6, 7 That we on earth with undiscording voice May rightly answer that melodious noise; As once we did, till disproportioned sin Jarred against nature’s chime, and with [harsh din Broke the fair music that all creatures made To their great Lord, whose love their motion [swayed
27 The Dream of Gerontius Assistants 3 Prelude 5 Kyrie eleïson. Holy Mary, pray for him. Part I All holy Angels, pray for him. Gerontius...... tenor Choirs of the righteous, pray for him. Assistants ...... chorus All Apostles, All Evangelists, pray for him. The Priest ...... bass All holy Disciples of the Lord, pray for him. All holy Innocents, pray for him. Gerontius All holy Martyrs, all holy Confessors, 4 Jesu, Maria – I am near to death, All holy Hermits, all holy Virgins, And Thou art calling me; I know it now. All ye Saints of God, pray for him. Not by the token of this faltering breath, Kyrie eleïson. This chill at heart, this dampness on [my brow, Gerontius (Jesu, have mercy! Mary, pray for me!) 6 Rouse thee, my fainting soul, and play ’Tis this new feeling, never felt before, [the man; (Be with me, Lord, in my extremity!) And through such waning span That I am going, that I am no more. Of life and thought as still has to be trod, ’Tis this strange innermost abandonment, Prepare to meet thy God. (Lover of souls! great God! I look to And while the storm of that bewilderment [Thee,) Is for a season spent, This emptying out of each constituent And, ere afresh the ruin on me fall, And natural force, by which I come to be. Use well the interval. Pray for me, O my friends; a visitant Is knocking his dire summons at my Assistants [door, 7 Be merciful, be gracious; spare him, Lord. The like of whom, to scare me and to daunt, Be merciful, be gracious; Lord, deliver him. Has never, never come to me before; From the sins that are past; So pray for me, my friends, who have not From Thy frown and Thine ire; [strength to pray. From the perils of dying; From any complying With sin, or denying His God, or relying
28 On self, at the last; Sanctus fortis, Sanctus Deus, From the nethermost fire; De profundis oro te, From all that is evil; Miserere, Judex meus, From power of the devil; Parce mihi, Domine. Thy servant deliver, And I hold in veneration, For once and for ever. For the love of Him alone, Holy Church, as His creation, By Thy birth, and by Thy Cross, And her teachings, as His own. Rescue him from endless loss; And I take with joy whatever By Thy death and burial, Now besets me, pain or fear, Save him from a final fall; And with a strong will I sever By Thy rising from the tomb, All the ties which bind me here. By Thy mounting up above, Adoration aye be given, By the Spirit’s gracious love, With and through the angelic host. Save him in the day of doom. To the God of earth and heaven, Father, Son, and Holy Ghost. Gerontius Sanctus fortis, Sanctus Deus, 8 Sanctus fortis, Sanctus Deus, De profundis oro te, De profundis oro te, Miserere, Judex meus, Miserere, Judex meus, Mortis in discrimine. Parce mihi, Domine. Firmly I believe and truly 9 I can no more; for now it comes again, God is Three, and God is One; That sense of ruin, which is worse than pain, And I next acknowledge duly That masterful negation and collapse Manhood taken by the Son. Of all that makes me man. And, crueller still, And I trust and hope most fully A fierce and restless fright begins to fill In that Manhood crucified; The mansion of my soul. And, worse and And each thought and deed unruly [worse, Do to death, as He has died. Some bodily form of ill Simply to His grace and wholly Floats on the wind, with many a loathsome Light and life and strength belong, [curse And I love, supremely, solely, Tainting the hallowed air, and laughs, and Him the holy, Him the strong. [flaps
29 Its hideous wings, Go, in the Name of Jesus Christ, our Lord, And makes me wild with horror and dismay. Son of the living God, who bled for thee! O Jesu, help! pray for me, Mary, pray! Go, in the Name of the Holy Spirit, who Some Angel, Jesu! such as came to Thee Hath been poured out on thee! In Thine own agony..... 13 Go, in the name Mary, pray for me. Joseph, pray for me. Of Angels and Archangels; in the name [Mary, pray for me. Of Thrones and Dominations; in the name Of Princedoms and of Powers; and in the name Assistants Of Cherubim and Seraphim, go forth! 10 Rescue him, O Lord, in this his evil hour, Go, in the name of Patriarchs and Prophets; As of old so many by Thy gracious power: – And of Apostles and Evangelists, Noe from the waters in a saving home; Of Martyrs and Confessors; in the name [(Amen.) Of holy Monks and Hermits; in the name Job from all his multiform and fell distress; Of holy Virgins; and all Saints of God, [(Amen.) Both men and women, go! Go on thy course; Moses from the land of bondage and despair; And may thy place to-day be found in peace, [(Amen.) And may thy dwelling be the Holy Mount David from Golia and the wrath of Saul; Of Sion; through the same, through Christ [(Amen.) [our Lord. – so, to show Thy power, Rescue this Thy servant in his evil hour. COMPACT DISC TWO Gerontius 11 Novissima hora est; and I fain would sleep, Part II The pain has wearied me.... Into Thy hands, Soul of Gerontius ...... tenor O Lord, into Thy hands.... Angel ...... mezzo-soprano Angel of the Agony ...... bass The Priest and Assistants Demons, Angelicals, and Souls ...... chorus 12 Proficiscere, anima Christiana, de hoc [mundo! Soul of Gerontius Go forth upon thy journey, Christian soul! 1 I went to sleep; and now I am refreshed. Go from this world! Go, in the Name of God A strange refreshment: for I feel in me The Omnipotent Father, who created thee!
30 An inexpressive lightness, and a sense To serve and save, Of freedom, as I were at length myself, Alleluia, And ne’er had been before. How still it is! And saved is he. I hear no more the busy beat of time, No, nor my fluttering breath, nor struggling This child of clay [pulse; To me was given, Nor does one moment differ from the next. To rear and train This silence pours a solitariness By sorrow and pain Into the very essence of my soul; In the narrow way, And the deep rest, so soothing and so sweet, Alleluia, Hath something too of sternness and of pain. From earth to heaven. Another marvel: someone has me fast Within his ample palm; a uniform Soul of Gerontius And gentle pressure tells me I am not It is a member of that family Self-moving, but borne forward on my way. Of wondrous beings, who, ere the worlds And hark! I hear a singing: yet in sooth [were made, I cannot of that music rightly say Millions of ages back, have stood around Whether I hear, or touch, or taste the tones, The throne of God. Oh, what a heart-subduing melody! I will address him. Mighty one, my Lord, My Guardian Spirit, all hail! Angel 2 My work is done, Angel My task is o’er, 3 All hail And so I come, My child and brother, hail! what wouldest Taking it home, [thou? For the crown is won, Alleluia, Soul of Gerontius For evermore. I would have nothing but to speak with thee For speaking’s sake. I wish to hold with thee My Father gave Conscious communion; though I fain would In charge to me [know This child of earth A maze of things, were it but meet to ask, E’en from its birth, And not a curiousness.
31 Angel Angel You cannot now A presage falls upon thee, as a ray Cherish a wish which ought not to be wished. Straight from the Judge, expressive of thy [lot. Soul of Gerontius That calm and joy uprising in thy soul Then I will speak. I ever had believed Is first-fruit to thee of thy recompense, That on the moment when the struggling And heaven begun. [soul Quitted its mortal case, forthwith it fell Soul of Gerontius Under the awful Presence of its God, Now that the hour is come, my fear is fled; There to be judged and sent to its own place. And at this balance of my destiny, What lets me now from going to my Lord? Now close upon me, I can forward look With a serenest joy. Angel Thou art not let; but with extremest speed But hark! upon my sense Art hurrying to the Just and Holy Judge. Comes a fierce hubbub, which would make [me fear Soul of Gerontius Could I be frighted. Dear Angel, say, Why have I now no fear of meeting Him? Angel Along my earthly life, the thought of death We are now arrived And judgment was to me most terrible. Close on the judgment-court; that sullen [howl Angel Is from the demons who assemble there, It is because Hungry and wild, to claim their property, Then thou didst fear, that now thou dost And gather souls for hell. Hist to their cry. [not fear. Thou hast forestalled the agony, and so Soul of Gerontius For thee the bitterness of death is passed. How sour and how uncouth a dissonance! Also, because already in thy soul The judgment is begun.
32 Demons To every slave, 4 Low-born clods And pious cheat, Of brute earth, And crawling knave, They aspire Who licked the dust To become gods, Under his feet. By a new birth, And an extra grace, Angel And a score of merits, 5 It is the restless panting of their being; As if aught Like beasts of prey, who, caged within their Could stand in place [bars, Of the high thought, In a deep hideous purring have their life, And the glance of fire And an incessant pacing to and fro. Of the great spirits, The powers blest, Demons The lords by right, 6 The mind bold The primal owners, And independent Of the proud dwelling The purpose free, And realm of light, – So we are told, Dispossessed, Must not think Aside thrust, To have the ascendant. Chucked down. What’s a saint? By the sheer might One whose breath Of a despot’s will, Doth the air taint Of a tyrant’s frown, Before his death; Who after expelling A bundle of bones, Their hosts, gave, Which fools adore, Triumphant still, Ha! ha! And still unjust, When life is o’er. Each forfeit crown Virtue and vice, To psalm-droners, A knave’s pretence. And canting groaners, ’Tis all the same; Ha! ha!
33 Dread of hell-fire, Angel Of the venomous flame, There was a mortal, who is now above A coward’s plea. In the mid glory: he, when near to die, Give him his price, Was given communion with the Crucified, – Saint though he be, Such, that the Master’s very wounds were Ha! ha! [stamped From shrewd good sense Upon his flesh; and, from the agony He’ll slave for hire; Which thrilled through body and soul in that Ha! ha! [embrace, And does but aspire Learn that the flame of the Everlasting Love To the heaven above Doth burn ere it transform. With sordid aim, And not from love. Choir of Angelicals Ha! ha! 8 Praise to the Holiest in the height, And in the depth be praise: Soul of Gerontius 7 I see not those false spirits; shall I see Angel My dearest Master, when I reach His throne? ...Hark to those sounds! They come of tender beings angelical, Angel Least and most childlike of the sons of God. Yes, – for one moment thou shalt see thy [Lord, Choir of Angelicals One moment; but thou knowest not, my child, Praise to the Holiest in the height, What thou dost ask: that sight of the Most And in the depth be praise: [Fair In all His words most wonderful; Will gladden thee, but it will pierce thee too. Most sure in all His ways!
Soul of Gerontius To us His elder race He gave Thou speakest darkly, Angel! and an awe To battle and to win, Falls on me, and a fear lest I be rash. Without the chastisement of pain, Without the soil of sin.
34 The younger son He willed to be Soul of Gerontius A marvel in His birth: My soul is in my hand: I have no fear, – Spirit and flesh His parents were; His home was heaven and earth. 12 But hark! a grand mysterious harmony: It floods me, like the deep and solemn sound The Eternal blessed His child, and armed, Of many waters. And sent Him hence afar, To serve as champion in the field Angel Of elemental war. 13 And now the threshold, as we traverse it, Utters aloud its glad responsive chant. To be His Viceroy in the world Of matter, and of sense; Choir of Angelicals Upon the frontier, towards the foe, 14 Praise to the Holiest in the height, A resolute defence. And in the depth be praise: In all His words most wonderful; Angel Most sure in all His ways! 9 We now have passed the gate, and are [within O loving wisdom of our God! The House of Judgment. When all was sin and shame, A second Adam to the fight Soul of Gerontius And to the rescue came. The sound is like the rushing of the wind – The summer wind – among the lofty pines. O wisest love! that flesh and blood Which did in Adam fail, Choir of Angelicals Should strive afresh against the foe, 10 Glory to Him, who evermore Should strive and should prevail; By truth and justice reigns; Who tears the soul from out its case, And that a higher gift than grace And burns away its stains! Should flesh and blood refine, God’s Presence and His very Self, Angel And Essence all divine. 11 They sing of thy approaching agony, Which thou so eagerly didst question of.
35 O generous love! that He who smote Angel of the Agony In man for man the foe, 16 Jesu! by that shuddering dread which fell The double agony in man [on Thee; For man should undergo; Jesu! by that cold dismay which sickened [Thee; And in the garden secretly, Jesu! by that pang of heart which thrilled And on the cross on high, [in Thee; Should teach His brethren and inspire Jesu! by that mount of sins which crippled To suffer and to die. [Thee; Jesu! by that sense of guilt which stifled Praise to the Holiest in the height, [Thee; And in the depth be praise: Jesu! by that innocence which girdled Thee; In all His words most wonderful; Jesu! by that sanctity which reigned in Thee; Most sure in all His ways! Jesu! by that Godhead which was one with [Thee; Angel Jesu! spare these souls which are so dear 15 Thy judgment now is near, for we are come [to Thee, Into the veilèd presence of our God. Souls, who in prison, calm and patient, wait [for Thee; Soul of Gerontius Hasten, Lord, their hour, and bid them come I hear the voices that I left on earth. [to Thee, To that glorious Home, where they shall ever Angel [gaze on Thee. It is the voice of friends around thy bed, Who say the ‘Subvenite’ with the priest. Soul of Gerontius Hither the echoes come; before the Throne 17 I go before my Judge. Stands the great Angel of the Agony, The same who strengthened Him, what Voices on Earth [time He knelt Be merciful, be gracious; spare him, Lord. Lone in the garden shade, bedewed with Be merciful, be gracious; Lord, deliver him. [blood. That Angel best can plead with Him for all Angel Tormented souls, the dying and the dead. 18 ...Praise to His Name! O happy, suffering soul! for it is safe,
36 Consumed, yet quickened, by the glance Angel [of God. 21 Softly and gently, dearly-ransomed soul, Alleluia! In my most loving arms I now enfold thee, And, o’er the penal waters, as they roll, Soul of Gerontius I poise thee, and I lower thee, and hold 19 Take me away, and in the lowest deep [thee. There let me be, And there in hope the lone night-watches keep, And carefully I dip thee in the lake, Told out for me. And thou, without a sob or a resistance, There, motionless and happy in my pain, Dost through the flood thy rapid passage Lone, not forlorn, – [take, There will I sing my sad perpetual strain, Sinking deep, deeper, into the dim Until the morn, [distance. There will I sing, and soothe my stricken breast, Which ne’er can cease Angels, to whom the willing task is given, To throb, and pine, and languish, till possest Shall tend, and nurse, and lull thee, as Of its Sole Peace. [thou liest; There will I sing my absent Lord and Love: – And Masses on the earth, and prayers in Take me away, [heaven, That sooner I may rise, and go above, Shall aid thee at the Throne of the Most And see Him in the truth of everlasting day. [Highest.
Souls in Purgatory Farewell, but not for ever! brother dear, 20 Lord, Thou hast been our refuge: in every Be brave and patient on thy bed of [generation; [sorrow; Before the hills were born, and the world Swiftly shall pass thy night of trial here, [was: from age to age Thou art God. And I will come and wake thee on the Bring us not, Lord, very low: for Thou hast [morrow. [said, Come back again, ye sons of Adam. Come back, O Lord! how long: and be Souls [entreated for Thy servants. Lord, Thou hast been our refuge, &c. Amen. John Henry (Cardinal) Newman (1801 – 1890)
37 Clive Barda
Arthur Davies Gwynne Howell The premature death of Richard Hickox on 23 November 2008, at the age of just sixty, deprived the musical world of one of its greatest conductors. The depth and breadth of his musical achievements were astonishing, not least in his remarkable work on behalf of British composers. An inspiring figure, and a guiding light to his friends and colleagues, he had a generosity of spirit and a wonderful quality of empathy for others. For someone of his musical achievements, he was never arrogant, never pompous. Indeed there was a degree of humility about Richard that was as endearing as it was unexpected. He was light-hearted and, above all, incredibly enthusiastic about those causes which he held dear. His determination to make things happen for these passions was astonishing – without this energy and focus his achievements could not have been as great as they were. He was able to take others with him on his crusades, and all in the pursuit of great music. Richard was a completely rounded musician with a patience, kindness, and charisma that endeared him to players and singers alike. His enthusiasm bred its own energy and this, in turn, inspired performers. He was superb at marshalling
40 large forces. He cared about the development of the artists with whom he worked and they repaid this loyalty by giving of their best for him. An unassuming man who was always a delight to meet, Richard was a tireless musical explorer who was able to create a wonderful sense of spirituality, which lifted performances to become special, memorable events. For these reasons, Richard was loved as well as respected. The Richard Hickox Legacy is a celebration of the enormously fruitful, long-standing collaboration between Richard Hickox and Chandos, which reached more than 280 recordings. This large discography will remain a testament to his musical energy and exceptional gifts for years to come. The series of re-issues now underway captures all aspects of his art. It demonstrates his commitment to an extraordinarily wide range of music, both vocal and orchestral, from the past three centuries. Through these recordings we can continue to marvel at the consistently high level of his interpretations whilst wondering what more he might have achieved had he lived longer.
41 Also available
Rossini Stabat Mater CHAN 10781 X
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With acknowledgements to the Novello edition of The Dream of Gerontius
Recording producer Brian Couzens Sound engineer Ralph Couzens Assistant engineer Janet Middlebrook Editor Tim Oldham Mastering Jonathan Cooper Recording venue Watford Town Hall; 14 – 16 February 1988 Front cover Montage by designer incorporating the original CD cover which included a reproduction of God the Father in His Glory with Angels, detail from the Isenheim Altarpiece (1512 – 16) by Matthias Grünewald (c. 1470 – 1528), courtesy of the Musée d’Unterlinden, Colmar, Alsace, France / The Bridgeman Art Library, London Back cover Photograph of Richard Hickox by Greg Barrett Design and typesetting Cassidy Rayne Creative (www.cassidyrayne.co.uk) Booklet editor Finn S. Gundersen p 1988 Chandos Records Ltd Digital remastering p 2013 Chandos Records Ltd c 2013 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex CO2 8HX, England Country of origin UK
43 ELGAR: THE DREAM OF GERONTIUS – Soloists / LSC / LSO / Hickox CHAN 241- 46 England • Essex • 2013 Chandos Records Ltd Ltd 2013 Chandos Records Ltd 2013 Chandos Records 1988 Chandos Records Ltd 1988 Chandos Records c Colchester p • CHAN 241- 46 Digital remastering p Digital remastering 2-disc set
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