The Dream of Gerontius, Op. 38, is a work for voices and orchestra in two parts composed by Edward Elgar in 1900, to text from the poem by John Henry Newman. It relates the journey of a pious man's soul from his deathbed to his judgment before God and settling into Purgatory. Elgar disapproved of the use of the term "oratorio" for the work (and the term occurs nowhere in the score), though his wishes are not always followed. The piece is widely regarded as Elgar's finest choral work, and some consider it his masterpiece. The work was composed for the Birmingham Music Festival of 1900; the first performance took place on 3 October 1900, in Birmingham Town Hall. It was badly performed at the premiere, but later performances in Germany revealed its stature. In the first decade after its premiere, the Roman Catholic theology in Newman's poem caused difficulties in getting the work performed in Anglican cathedrals, and a revised text was used for performances at the Three Choirs Festival until 1910. History Edward Elgar was not the first composer to think about setting John Henry Newman's poem "The Dream of Gerontius". Dvořák had considered it fifteen years earlier, and had discussions with Newman, before abandoning the idea. Elgar knew the poem well; he had owned a copy since at least 1885, and in 1889 he was given another as a wedding present. This copy contained handwritten transcriptions of extensive notes that had been made by General Gordon, and Elgar is known to have thought of the text in musical terms for several years. Throughout the 1890s, Elgar had composed several large-scale works for the regular festivals that were a key part of Britain's musical life. In 1898, based on his growing reputation, he was asked to write a major work for the 1900 Birmingham Triennial Music Festival. He was unable to start work on the poem that he knew so well until the autumn of 1899, and did so only after first considering a different subject. Composition proceeded quickly. Elgar and August Jaeger, his editor at the publisher Novello, exchanged frequent, sometimes daily, letters, which show how Jaeger helped in shaping the work, and in particular the climactic depiction of the moment of judgment. By the time Elgar had completed the work and Novello had printed it, there were only three months to the premiere. The Birmingham chorus,