The dream is coming to celebrate the Cathedral's centennial

Intermountain Catholic

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The Cathedral of the Madeleine Choir and Madeleine Choir choristers perform in the Cathedral of the Madeleine for many performances and Masses under the direction of Melanie Malinka, Madeleine Choir School director of music.File photo

by Gregory A. Glenn

Cathedral of the Madeleine, Director of Liturgy and Music Madeleine Choir School Founder

SALT LAKE CITY — One hundred years ago this month, musicians in Salt Lake City, under the direction of Miss Nora Gleason, were no doubt busy with preparations for what would be a monumental and historic event in the life of the Church in Utah: the dedication of the Cathedral Church of St. Mary Magdalene.

After more than nine years of construction, and many more years of planning and fundraising, the Cathedral was now ready to set apart for its role as the mother church for Catholic Utah, the Domus Dei (House of God) and Porta coeli (Gate of Heaven) for the fledgling church so remarkably built up by founding Bishop Lawrence Scanlan and the generous Sisters of the Holy Cross who collaborated with him.

Nora Gleason was already widely acknowledged for the excellent music program that was flourishing in service to the Church’s prayer in the 1871 Church of St. Mary Magdalene located at about 50 South 200 East. Musical works and soloists were regularly indicated in the local papers, and now Gleason and her forces were ready to provide the music for the Mass of Dedication on Aug. 15, 1909 and the Vespers and Benediction service that followed later in the day. For the Mass, Gleason elected to offer Charles Gounod’s very demanding Mass of St. Cecilia. Accounts in the local papers hailed the music as superb, adding that "it was unlike – for it outclassed – anything of the kind heard in our city, and deepened, if that were possible, our admiration for the great and historic church which has ennobled the world by her encouragement of art."

The Choir of the Cathedral of the Madeleine is trying to live up to the tremendous reputation of these early Catholic musicians in Utah as we prepare to celebrate the centennial anniversary of the Cathedral’s dedication. While there are many celebrations in the week of Aug. 9, through the 16, the Cathedral Choir and Orchestra with the Choristers of the Madeleine Choir School will perform Sir Edward Elgar’s The Dream of Gerontius in the Cathedral on Aug. 12, and Aug. 13, at 7:30 p.m.

Composed in the same years as the Cathedral was being constructed, this oratorio setting of Cardinal John Henry Newman’s poem is commonly hailed as Elgar’s masterpiece. The Roman Catholic composer who is most auspiciously known for the March "Pomp and Circumstance" is also widely hailed for the composition of "The Enigma Variations" for orchestra of 1899, his Cello Concerto of 1919, and numerous other works for choirs, orchestras, and chamber ensembles. Elgar himself attributed The Dream of 1900 as literally "…the best of me."

Cardinal Newman’s poem tells of the journey of a man’s soul after death - Gerontius may be translated roughly as old man. Elgar was given a copy of the poem in 1889, as a wedding present. First published in 1865, it begins with Gerontius as a dying man of faith, by turns fearful and hopeful, but always confident. A group of friends joins him in prayer and meditation. He passes in peace, and a priest commends him on his way with the well-known prayer "Go forth Christian Soul…" In a second part, Gerontius, now referred to as "The Soul", awakes in a place apparently without space or time, and becomes aware of the presence of his guardian angel that expresses joy at the culmination of her task. After a long dialogue, they journey toward the judgment throne.

They safely pass a group of demons, and encounter choirs of angels eternally praising God for His grace and forgiveness. The Angel of the Agony pleads with Jesus to spare the souls of the faithful. Finally Gerontius glimpses God and is judged in a single moment. The guardian angel lowers Gerontius into the soothing lake of purgatory, with a final blessing and promise of a re-awakening to glory.

While such a thorough consideration of the afterlife is far from common in 21st century thinking, Newman’s poem and the profound musical setting by Elgar no doubt has resonance with all who struggle to go deeper in their consideration of matters of the spirit and eternity in our current culture governed by instant gratification, individualism, and consumerism. While possibly vexed by the language of the 19th century, the poem still invites one to consider the larger implications of our everyday actions and attitudes.

Elgar’s music is beautiful, likened in its orchestral grandeur to the best of Richard Wagner. Tenor soloist Martin Thompson, who has been engaged in lead roles with New York’s Metropolitan Opera, the San Francisco Opera, and the opera companies of Stuttgart and Amsterdam will perform in the role of the soul Gerontius.

Cathedral Baritone Soloist Tyler Oliphant will sing the role of the priest who commends the soul at his death and the Angel of Agony. The Cathedral Choir and Choristers appear variously as angels and demons.

These concerts featuring the text of Blessed John Henry Cardinal Newman and the music of Roman Catholic composer Edward Elgar seem to be apt celebrations of the legacies of faith, hope, and, love celebrated in our commemoration of the cathedral’s original dedication. The Cathedral musicians offer these performances with great respect and admiration for the pioneer members of our faith who served so nobly despite incredible odds in planting the seeds of faith that have become the now 100-year old Cathedral of the Madeleine and the Diocese of Salt Lake City.

Glenn has served in the Diocese of Salt Lake City since 1988.