The tremendous sensation that John Henry Newman evoked by severing himself from the English Church, is a matter of history, and the bitter feelings it engendered were little likely to be assuaged by the publication of a work of such exalted genius, in which Catholic doctrines are portrayed in majestic and fascinating splendour.
As a matter of fact, Cardinal Newman's writings were practically ignored by the reading public until his famous "Apologia" brought them into universal demand.
To deal with such a theme as "The Dream of Gerontius" on equal terms with the author, required on the part of the composer, immense resources of skill, and an imagination capable of responding to calls of the most exacting nature.
To say that Sir Edward Elgar succeeded in his great endeavour is to say less than the truth. He did more. By intense devotional music he aided the author in the inspired effort to lift the veil, and reveal, if ever so obscurely, those glories of which holy men have dreamed unceasingly since the dread day of the Crucifixion.
It is permissable to doubt if in the whole realm of sacred music, anything more approaching sublimity has been penned by the musician, than the setting of the noble hymn, "Praise to the Holiest in the Heights."
The whole work dwells in an atmosphere of ecstatic emotion, and words seem strangely
inadequate to convey a true impression of its nobility.
The world at large has recognized its supreme merit, and nowhere has this been more eloquently acknowledged than by the great German composer, Herr Richard Strauss, on the occasion of its performance at the Rhine Festival in 1902.
It was hardly to be expected that a work so complex in character and so different from anything hitherto presented in England, should be at once understood and its great qualities immediately grasped.
Hence, on the occasion of the first performance at Birmingham, it scarcely realized the success that those who knew its unique value had expected. Little time, however, was to elapse before English music lovers came to a just appreciation, and its popularity to-day is not only a sign of enduring qualities, but of the immense advance in musical perception that has characterised recent years in the country. There had been signs, many and ominous, of a waning interest in oratorio. The number of works that had any real hold of, or power of attraction for the people in general, were few. The failure of so many new ones to realize the expectations that had been aroused in the public mind before their production, was making an effect that was, in every sense, deplorable; but, happily, "The Dream of Gerontius" came in time to stem the current of popular feeling, and to add an additional lustre to the history of oratorio in England.