Tobias' masterful oratorio Des Jona Sendung (Jonah's Mission) is one of the most impressive choral works, sung or unsung, ever written IMHO. It's difficult to know where to begin describing this monumental work. It really doesn't sound like much else-the closest points of comparison I can possibly think of are Sibelius' Kullervo, Schmidt's Buch mit sieben Siegeln, and Liszt's Faust Symphony. It is a truly thrilling work, covering a very wide range of styles and moods. It must be heard to be believed; therefore, we are truly fortunate to have the outstandingly committed BIS recording of the work, led by the indefatigable Jarvi. Perhaps Rob Barnett can give those unfamiliar with this masterpiece a better idea of what exactly it entails: http://www.musicweb-international.com/classrev/2001/Oct01/Tobias.htm (http://www.musicweb-international.com/classrev/2001/Oct01/Tobias.htm)
It is a highly impressive piece, but I've never thought it has the sort of recognisable idiom that the truly great works of that kind have. Compare, for example, The Dream of Gerontius. In other words, if one heard it, one wouldn't think, "Oh yes, that's by Tobias."
Well, the Elgar may be a more individual work than the Tobias, but I find the latter to be a more stirring and powerful work than the former. I love Elgar's music, but Gerontius doesn't move me to the degree of the composer's other orchestral works or, indeed, the Tobias oratorio. I suppose I just prefer the more dynamic aesthetic of the Tobias to the more stoic, reflective atmosphere of the Elgar. I won't deny that the Elgar is a masterpiece, but I strongly believe the Tobias is deserving of that title as well.
As I indicated, it's not that the Tobias lacks power - just the reverse, in fact. But it lacks the immediately identifiable idiom of a genuine masterpiece.
As we all know, everyone's definition of a masterpiece will vary. When I evaluate an unsung work, I tend to concentrate more on the punch it packs than its originality. Therefore, I consider the Tobias a
masterpiece. It may not be original, but at least it's eclectic instead of heavily derivative of one composer. Each to his own :)
I'd say an identifiable personal idiom was among the prerequisites for 'masterpiece' status. But let's just agree to disagree about Tobias' very fine work.