This is Part 1. Part
2 is on the
next page. Up to Gerontius Overview.
Scroll down to Part 1 Midi files.
This has been a hard Work to key in and arrange. The problem
is mainly technical, and is down to Elgar's requirement of 12 different
Choir voices - Semi-chorus SATB, Chorus 1 SATB and Chorus 2 SATB - plus
three soloists (STB), sometimes all apparently singing at the same
time, coupled with the need to provide four staves for the expanded
piano reduction. Notionally this necessitates 19 different midi
Channels - which, since General Midi only allows for 15 (plus a
dedicated percussion channel), means that in the absence of two Midi
devices certain Midi channels - those for Choirs 1 and 2 - have to
double up. As a result, and because of the way Midi works, it may not
always seem that one or other of each pair of voices - Sops 1 and 2,
for instance - are singing the correct duration of note when they are
singing the same note.
A very minor part of the problem is that just occasionally one voice is
itself further divided - the Semi-chorus Sopranos into Sop 1 and Sop 2
in at least one place, and the Chorus 2 Sopranos into Sop 1 and Sop 2 -
well, really Sop 2 and Sop 3! - in at least one other. Thanks, Elgar!.
I have included the notes, but not attempted to
divide the voices for real.
Another side of the problem is the Semi-chorus; it doesn't sing much,
so to stop its Members being bored it has in these Files been assumed
that when they're not doing their own thing they will be singing the
relevant Chorus 1 parts. In these Files, then, sometimes the
Semi-chorus sings its own notes, while at other times it sings the
Chorus 1 notes. And sometimes the two Choruses sing the same thing,
sometimes they sing something different. I suspect that on a couple of
occasions I may have got confused about who's singing what. Sorry about
that!
Finally, there are times - in 26: Praise to the Holiest, for example - when the use of the Voices/Channels is so confused/complex that Voices fade in and out seemingly at random. If this seriously worries you then I suggest that, using a suitable Player, you simply mute the Voices or groups of Voices that you don't care about (so if you're Choir 1, mute all the Choir 2 and the Semi-chorus); this should, as it were, free up the Midi resources, enabling your Voice to be heard more clearly.
Below is a "clickable" Table of the available Midi Files for this Work:-
Note that the Work has been divided up in two different ways.
First, each of Parts 1 and 2 has been provided as a whole continuous
File. Second, each Part has (for the most part) been broken into the
sections listed at the back of the Score - which have been numbered
from No:1 (Jesu, Maria - I am near to death) all the way to No: 35
(Praise to the Holiest), and in the Tables below each has associated
with it the portion-identifying Numbers used in the score. These
sections can be downloaded individually, so the "Solo" bits can be
missed out if required.
In some - but not all - cases each section overlaps slightly at each
end with its neighboring sections.
Part 2 is on
the next page,
| The Dream of Gerontius | ||||||||||||
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Semi-Chorus | Chorus 1 | Chorus 2 | |||||||||
| Soprano | Alto | Tenor | Bass | Soprano | Alto | Tenor | Bass | Soprano | Alto | Tenor | Bass | |
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| Part 1 (01-78) complete | |
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| 1: Prelude (01-22) | None | None | None | None | None | None | None | None | None | None | None | None |
| 2: Jesu, Maria - I am near to death (22-29 [part])) | |
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None | None | None | None | None | None | None | None |
| 3: Kyrie Eleison (29-32) | |
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| 4: Rouse thee, my fainting soul (33-34) | None | None | None | None | None | None | None | None | None | None | None | None |
| 5: Be merciful, be gracious, spare him, Lord (35-40 [part]) | |
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| 6: Sanctus fortis, Sanctus Deus (40-56) | None | None | None | None | None | None | None | None | None | None | None | None |
| 7: I can no more (57-62) | None | None | None | None | None | None | None | None | None | None | None | None |
| 8: Rescue him, O Lord, in this his evil hour (63-66 [part]) | |
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| 9: Novissima hora es (66-67) | None | None | None | None | None | None | None | None | None | None | None | None |
| 10: Proficiscere anima Christiana (68-71) | None | None | None | None | None | None | None | None | None | None | None | None |
| 11: Go, in the name of Angels and Archangels (72-78) | |
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That's the end of Part 1.
Part 2 is on the
next page
Back to the Homepage composer page