Waltraud Mucher- Gregan

some CD- reviews on AMAZON: Joseph Eybler (1765-1846) was an austrian composer, born in Vienna and highly esteemed during his lifetime (he succeeded Salieri as Court Composer) and it is easy to see why. His music is clearly classical period, some of his works remind us Haydn. Eybler's Weihnachtsoratorium is a lovely, tuneful work, filled with many types of arias, recitatives, choruses and a couple of fine quartets-to please Mozart and Haydn fanciers. Eybler's vocal lines are generous and have that instant recognition factor that great music of this era always has. His great combination of instruments, and handsome word-painting are special. This performance is the clear reference for this work since it is spirited and nicely played by all departments of the ensemble; soloists are also very compelling. Another genuine rarity, smartly issued by CPO. A high recommendation for classical period lovers I recently gave Eybler's only other recorded oratorio - `Die Vier Lezten Dinge', Joseph Eybler: Die vier letzten Dinge - a rather hesitant review on this site; this disc, however, is a much stronger proposition. The work itself (whose title translates as, `The Shepherds by the Crib in Bethlehem') stands in a long tradition of Christmas oratorios and cantatas; it dates from 1794, two years before Haydn commenced work on `The Creation'. For music relating to the nativity, it opens with a disconcertingly ominous slow introduction but before long the main body of the overture (its primary theme propelled by brass and timpani) assumes a more festive mood of bustling and celebratory good humour. Perhaps the overture was meant to suggest the passage from darkness to light that the nativity was seen to herald; this would seem to be backed up by the opening recitative (into which the overture segues neatly), during which the soprano hails the dawn and the birth of Jesus. The passage includes an orchestral depiction of the sunrise that anticipates that in the first part of `The Creation'. There then follows a varied series of attractive arias, ensembles and choruses, in turns reflective or celebratory. There is a particularly lovely aria for the alto in part one, replete with obligato woodwind writing and including a significant role for the flute. The vocal parts are sometimes quite ornate, something that makes it sound a little old-fashioned for its date perhaps, not that that really matters now and especially not when the music is so attractive and well written. The chorus that concludes the first part is another highlight of the score - over a lilting siciliano rhythm, it alternates homophonic passages with more contrapuntal writing and also, at times, alternates female and male vocal parts. In a way, however, it almost seems unfair to single out any particular number when the quality is so consistently high throughout. Eybler proves himself a master of the orchestra: the quartet, "Selbst us ihren Blicken", in part one, whose cantabile vocal parts are gently supported by strings and trombones, for example; or the murmuring strings in the recitative that precedes the soprano aria, "Er ist's, Gott selbts in Fleischeshulle", the cadenza to which aria is accompanied solely by the wind instruments. I could easily write more about this beautiful oratorio, but really this is music that deserves to be heard. It certainly goes to explain why Eybler was held in such high esteem by Mozart and his other contemporaries. There is no doubt that Wolfgang Helbich or his performers believe in Eybler's worth - the piece is perfectly executed by everyone involved. CPO captures it all in pretty much ideal sound too.