Fully Realized `Dream' Requires Leap of Faith By Joshua Kosman, Chronicle Music Critic Saturday, January 29, 2000 Elgar's 1900 oratorio "The Dream of Gerontius," which the San Francisco Symphony played for the first time Thursday night in Davies Symphony Hall, is a work for true believers of two varieties: believers in the composer's enormous powers of artistic creation, and adherents to Catholic dogma. For listeners like myself, who belong to the former camp only, Thursday's performance under San Francisco Opera music director Donald Runnicles was a powerful, dramatically arresting affair. Yet I suspect this score may reveal its full majesty only to those with double membership in the target audience. It isn't enough to admire and be swept along by Elgar's inspired melodic gift, his mastery of thematic transformation or the pungency and resourcefulness of his choral and orchestral writing -- although those are certainly key. But "Gerontius," which sets sections of a long poem by Cardinal John Henry Newman, also asks listeners to follow its protagonist on a tour of the afterlife, attended by angels and demons and culminating in a blazing momentary glimpse of God. And a convic tion that this is literally what awaits us after death seems essential to a full appreciation of the work. The two sections of the piece trace the journey of Gerontius (the name denotes a generic oldster) through his final earthly moments and across the great divide of death. One moment he is making his final professions of Christian faith, with priest and loved ones in attendance; the next he is on his way to be gathered to the bosom of the Lord. It's a compelling enough conception, but both Newman and Elgar address it so completely from within a context of faith that it can be hard for the nonbeliever to find a way in. And of the two, only Elgar is an artist. Although the composer evidently found spiritual sustenance in Newman's poem, it is full of stretches like this: "Simply to His grace and wholly/ Light and life and strength belong,/ And I love, supremely, solely,/ Him the holy, Him the strong." As an expression of faith, that does the job with admirable efficacy. But as poetry, it is surely doggerel. Elgar's score is on another plane entirely. In two unbroken stretches of music (done by the Symphony in 100 intermissionless minutes), he traces the soul's odyssey with all the dramatic intensity of a chaste opera composer. A few distinctive themes, laid out in the spacious orchestral prelude, recur in different guises at key points in the journey. The alternation of solo vocal writing and choral interludes shows a masterful sense of pacing. The long and demanding title role moves grippingly from the agonies of the death spasm to an increasingly deep feeling of ecstasy and finally peace. Then there is the glory of the work's individual moments -- the hieratic intoning of the chorus as Gerontius dies, the exquisitely intertwined duet for Gerontius and the Angel who conducts him toward the Heavenly Throne, the female choir of angels and espe cially the full-bore depiction of the Divine Presence. In sheer musical impact, all these strokes transcend their doctrinal specifics. Still, there is something awfully sugary about Elgar's vision of the afterlife, with its radiant harmonies and its transcendent glow. Other composers, including Schutz, Bach and especially Messiaen, have managed to convey a taste of religious consolation without the patina of sentimentality that overlays "Gerontius." It's a brilliantly crafted confection, but a confection for all that. At any rate, whatever doubts the concert inspired could not be attributed to the performance itself. Runnicles has become Davies' most reliable purveyor of large religious works, and this performance was at the magisterial level of his 1995 debut with Britten's "War Requiem" and the 1997 Verdi Requiem. Dear Josh: Your fine review of "Gerontius" made me think -- how can we really *get into* the Shostakovich opera if our nasal affiliation falls short of real fusion? How do we really relate Bottom in "Midsummer Night's Dream" lest we make asses of ourselves? Does the appreciation of art really require jettes of beliefs? May we not make a point of the opposite -- that great art obviates the need for a particular belief system? Else how could a total infidel of my ilk worship at the altar of Bach, etc.? What I hear you say is that "you don't have to be Catholic to get Elgar... but it helps," and I suggest that there may be a *different* appreciation of the music by affiliation, but not necessarily a *better* one. Yours faithfully, Janos. Janos Gereben/SF [log in to unmask]