Background Removal Charles Brown's Universal Pack

Composer, conductor, administrator, impresario, creative writer, acid critic, sometime painter, aspiring philosopher, classical symphonist, opera romantic, profound nationalist … blessed with the melodic flowering of a Mozart, the technical facility of a Mendelssohn … a man, conscious of his genius, ‘always honest and selfless in his dealings with his fellow men and with the art he loved’ (Autobiographical Sketch, Dresden, 14 March 1818) … put on a pedestal by all the post-Beethovenites, the inspiration of Mahler and Debussy, of Hindemith and Stravinsky: Carl Maria von Weber was, by universal consent, a great pianist in an age of great virtuosi.

This is a wonderful work, more like an opera than an oratorio (which it is called) with its fine psychological portrait of Saul, the egocentric leader with a tragic flaw, and the trouble his histrionics bring about. We also get to know the friends Jonathan and David–one gentle and rational, the other moody and flamboyant–and the scene with the Witch of Endor is a real creepfest. This 1973 performance serves the work very well, and while we might argue with Charles Mackerras’ slowish tempos (it takes 20 minutes longer than Gardiner’s), the manner in which he allows his cast to act with their words is only to be admired.