petr eBen’s organ cycle job (1987)
Abstract
The Biblical book of Job has long been recognised as one of the great works of world literature, even
independently of its specific significance within the Judeo-Christian tradition. It deals with the question
of theodicy: Why does God allow the righteous to suffer? Apart from the obvious interest the book
holds for theologians, it has also fascinated many philosophers, artists and specifically composers. The
organ cycle Job (1987) by the Czech composer Petr Eben (1929-2007) is an example of such creative
engagement in musical form. The present article explores this work and argues that it is not only an
important contribution to the contemporary literature for organ, but puts forward a highly compelling
theological interpretation of its subject matter. It represents Eben’s continued interest in a topic that
had already found expression in his earlier organ cycle Faust (1979/80), i.e. in “the wager between Satan
and God on the fate of a human being” (Eben, 1989:iv). Eben gives the Old Testament story a decidedly
Christian turn by creating a link between Job and Christ. Musically this interpretation is made manifest
by the incorporation of several Christian hymn melodies, such as Wer nur den lieben Gott lässt walten, Veni
creator spiritus and Kristus, příklad pokory. Instead of presenting a continuous programmatic depiction of the story, the work divides into eight movements, each dealing with a specific theme inherent in the
topic: Destiny, Faith, Acceptance of Suffering, Longing for Death, Despair and Resignation, Mystery of Creation,
Penitence and Realisation, and God’s Reward. The movements are all discussed and analysed individually
so as to reveal their particular theological and musical substance and their significance within the work
as a whole. The article hopes to show that the questions raised by the ancient book of Job continue
to be relevant to this very day.