The Witch of Endor's Influence on Saul's Fate: Purcell's Musical Depiction

Saul and the Witch of Endor is a story from the Old Testament of the Bible, specifically from the book of 1 Samuel. It tells the tale of King Saul, the first king of Israel, seeking guidance from a medium known as the Witch of Endor. This story is significant as it portrays Saul's desperate attempt to communicate with the dead and the consequences that follow. The story takes place during Saul's reign as king, a time when he is faced with various conflicts and uncertainties. Saul, unable to receive divine guidance through traditional means, is driven to seek out the Witch of Endor. The Witch of Endor is known for her ability to communicate with spirits and the dead, although this practice is condemned in the Israelite culture.

The Witch of Endor is known for her ability to communicate with spirits and the dead, although this practice is condemned in the Israelite culture. Desperate to obtain answers, Saul disguises himself and visits the Witch of Endor in secret. He asks her to summon the spirit of Samuel, a deceased prophet and the former mentor of Saul.

Saul and the witch of endor purcell

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In guilty night 'Saul and the witch of Endor', Z134

Susan Gritton (soprano), Rogers Covey-Crump (tenor), Michael George (bass), The King's Consort, Robert King (conductor)

Recording details: April 1994
St Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom
Produced by Ben Turner
Engineered by Philip Hobbs
Release date: June 1994
Total duration: 9 minutes 13 seconds

Reviews

Introduction

The devotional songs that Purcell contributed to Playford’s second book of Harmonia Sacra of 1693 – the duet Awake, ye dead, the settings of Cowley’s Begin the song, Fuller’s Lord, what is man? and Tate’s Blessed Virgin’s Expostulation – were all remarkable sacred works which reflected not only the composer’s vast experience at the Chapel Royal but also his (by now) equally important work in the theatre. The fifth work Purcell contributed, the dramatic scena In guilty night, is unique among Purcell’s sacred music. It fits into no single category, combining elements of the devotional song with that of the cantata and, indeed, the oratorio. Playford simply headed the composition as ‘A paraphrase on the 28th Chapter of the First Book of Samuel, from Verse 8, to Verse 20’. The background to the biblical story is that Samuel, growing old, picks Saul to succeed him as a leader for the Israelites. Saul, however, proves to be unreliable in his devotion to God, especially when he finds his position being usurped by David. In due course Samuel dies and the Israelites are once again at war with the Philistines. According to the Bible, Saul had ‘put away those that had familiar spirits, and the wizards, out of the land’, but when he fails to get responses to his prayers from either God or the prophets he has to turn to one of the witches that he has banished. His advisors tell him that one such character remains at Endor: Saul, disguised, goes to visit her.

Purcell’s opening sets Saul’s desolation in starkly graphic style: the three voices enter quietly, one by one, building up the sense of tense theatricality with magical harmony to the first, chromatically dropping entries of ‘Forsaken Saul’: these build to a stunningly powerful climax. Saul demands in dramatic semi-recitative that the witch ‘call pow’rful arts together’ to raise up a departed spirit; the woman, ignorant of her visitor’s identity, desperately responds that she is fearful to do so, for ‘cruel Saul’ has ‘kill’d and murder’d all that were wise and could on spirits call’. Saul assures her that ‘No harm from Saul shall come to thee for this’, and the witch agrees to his request, asking who it is her visitor wishes to call. Saul replies that it is ‘Old Samuel’. The woman realises who Saul is, and that she will now die; her cries of ‘Alas’ are as powerful as any in Purcell’s output. Saul again reassures her and, asked what she can see, the woman describes ‘the gods ascending from below’ and ‘an old man mantled o’er’. Saul’s visit from the underworld has begun. Samuel angrily demands why he has been robbed of his rest to see ‘that which I hate’ and Saul explains his position, desperately asking in the most expressive music, ‘Oh! for pity’s sake, tell me, what shall I do.’ Samuel looks into the future and grimly replies that Saul’s army will be slain, his kingdom will fall, and that ‘tomorrow, thou and thy son shall be with me beneath’. (In the Bible all three of Saul’s sons are slain, and Saul, already injured, falls on his own sword rather than be taken by the Philistines). The closing chorus, setting just two words, ‘Oh! Farewell’, is a magical ending to one of the most remarkable compositions of the age.

from notes by Robert King ©

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‘It is hard to speak too highly of this enterprise … much enjoyment to be had’ (Gramophone)
‘The performances from The King’s Consort and its Choir, the Choir of New College and a starry line-up of soloists have such qualities of concentratio . » More

Recording details: April 1994
St Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom
Produced by Ben Turner
Engineered by Philip Hobbs
Release date: June 1994
Total duration: 9 minutes 13 seconds

Recording details: April 1994
St Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom
Produced by Ben Turner
Engineered by Philip Hobbs
Release date: June 1994
Total duration: 9 minutes 13 seconds

Surprisingly, the Witch of Endor succeeds in summoning Samuel's spirit, and Saul is able to ask his questions. Samuel's spirit, however, delivers a haunting message to Saul. He reveals that God has turned away from Saul and his reign due to his disobedience and lack of faith. Samuel predicts that Saul and his sons will perish in battle, marking the end of his dynasty. Upon hearing this dire prophecy, Saul is overcome with fear and anguish. Samuel's words foreshadow the downfall of Saul's reign, which indeed comes to pass as Saul and his sons are killed in battle against the Philistines. The story of Saul and the Witch of Endor is often regarded as a cautionary tale, warning against seeking guidance from forbidden supernatural sources. It emphasizes the importance of faith, obedience, and trust in God's plan. The consequences of Saul's actions serve as a reminder that relying on earthly means instead of divine guidance can lead to disastrous outcomes. In conclusion, the story of Saul and the Witch of Endor portrays the king's desperate attempt to communicate with the dead through the Witch of Endor. This story warns against seeking forbidden supernatural sources and emphasizes the importance of faith and trust in God's plan. The consequences of Saul's actions serve as a cautionary tale for believers today..

Reviews for "Emotional Resonance in Purcell's "Saul and the Witch of Endor"

1. John - 2 stars

I was really disappointed with "Saul and the Witch of Endor" by Purcell. The storyline was confusing and hard to follow. The characters lacked depth and I found it difficult to connect with any of them. The music also felt repetitive and uninspiring. Overall, I did not enjoy this opera and would not recommend it.

2. Sarah - 1 star

I found "Saul and the Witch of Endor" by Purcell to be extremely dull and unengaging. The plot was slow-paced and lacked excitement. The music failed to captivate me and I often found my mind wandering. Additionally, the production design was lackluster and did not enhance the overall experience. I do not understand the appeal of this opera and would not recommend it to others.

3. Michael - 2 stars

"Saul and the Witch of Endor" by Purcell was a letdown for me. The libretto was convoluted and difficult to comprehend, making it hard to fully grasp the story. The music itself did not leave a lasting impression and felt forgettable. The performances were also lackluster, with uninspired singing and acting. Overall, I felt disconnected from this opera and would not choose to revisit it in the future.

4. Emily - 1 star

I found "Saul and the Witch of Endor" by Purcell to be a tedious and uninteresting opera. The storyline was confusing and the characters lacked depth and development. The music felt monotonous and failed to grab my attention. The overall production felt uninspired and lacked creativity. I would not recommend this opera to anyone looking for an enjoyable and engaging experience.

5. David - 2 stars

"Saul and the Witch of Endor" by Purcell did not meet my expectations. The plot felt disjointed and hard to follow, leaving me feeling frustrated and disconnected from the story. The music lacked originality and failed to make a lasting impression. The performances, while adequate, did not leave a lasting impact. Overall, I was disappointed with this opera and would not recommend it.

The Witch of Endor and the Art of Divination in Purcell's Opera