Joseph Eybler: Die vier letzten Dinge

This monumental oratorio has an interesting pre-history. It was commissioned by the Emperor Francis I for his wife, Maria Theresa, and the original libretto by Christian Kuffner had been presented to Haydn, who declined it on account of his age and lack of strength for such an undertaking; dealing as it does with the Last Judgement, it seems to have been conceived as a concluding part to Haydn's two previous oratorios, `The Creation' and `The Seasons'. It is a neatly planned idea but in the event, with a reworked libretto by Sonnleithner, the commission was passed to Eybler.

Although he was undeniably a gifted composer, it was perhaps a rash undertaking for Eybler to attempt to follow in Haydn's footsteps in this way; even aside from the unfortunate comparisons that such a pairing of musicians engenders, the text of `Die Vier Leztzen Dinge' is a work on a lofty scale of expression and in the narrative events he sought to portray, Eybler does seem to have over-reached his own natural gifts.

The self-consciously serious tone of the work is set in the overture, which leads into a fugal chorus. The choruses throughout the oratorio undeniably make an effect because of their scale and there is some dramatic use of antiphonal choral writing representing the `saved' and the `damned'. As befits a work on such a grave religious theme, there are several choral fugues but most of the choral writing in the work is striking more for its technical expertise rather than its emotional effect or themes.

There are also some effective arias and ensembles, but although they do contain some of the most attractive music, they don't always have the appeal or memorability of his other vocal music and it seems as though his lyrical gifts were somewhat stifled by the elevatedly serious tone of the text. It is not all uniformly prosaic - there is penitent duet for Adam and Eve (obviously written as a counterpart to their duet in part three of `The Creation') and an appropriately dramatic aria for tenor and chorus (No. 17, `O seht ihr sie, die Auferwachten') that greets the newly risen dead, both of which stand out above the rest.

There are long passages of descriptively accompanied recitative between the musical numbers, most of which attempt to evoke the destruction of the earth in musically pictorial terms. They are patently inspired (or not inspired, as it turns out) by similar passages in `The Creation', which portrayed the genesis of the world. They certainly make a lot of noise, particularly in the brass and timpani departments, and this must indeed have had an effect on the audience at the Viennese public premiere in 1810, especially as the concert involved over two hundred performers.

Unfortunately, though, the descriptive orchestral music simply isn't very descriptive - just as the choral writing isn't very stirring and the lyrical music isn't as lyrical as one would like. With all this underpinned by pedestrian harmony, the ultimate effect is of a rather dry, academic piece.

Hermann Max and his performers are always sure-footed guides to this sort of repertoire and this release maintains their usual levels of excellence; CPO's recording too leaves nothing to be desired. This two-disc set is undeniably a worthy act of historical interest and Eybler acquits himself thoroughly professionally at all times, but I fear his oratorio's musical pleasures are rather thinly spread.

I can't deny that I'm glad to have had the opportunity to hear this work, but I can only cautiously recommend it.