They Shall Not Hurt, by Arthur Lazarus (arr. B. Lazarus)
They Shall Not Hurt, a short Jewish hymn with a flowing melody, expresses clear-eyed but heart-felt devotion. Sung in Hebrew and English and relatively easy to perform, it is an ideal work for Friday night Sabbath service or concert setting.
Arthur Lazarus (1925-1993) was music director for Temple Beth Sholom in New City, New York, from about 1968 to 1976. His voluntary activities included directing the choir, teaching music at Sunday school, directing and arranging for the Temple Youth Orchestra, and composing a nearly complete set of songs for Sabbath service, recognizable now as a major contribution to Jewish liturgical music. They Shall Not Hurt, with its flowing melody and clear-eyed but heart-felt devotion, is typical of the music from this cycle. Though Lazarus never had formal musical training, in his youth he performed professionally on bass, trumpet, and piano and toured with swing bands including “Bubbles” Becker and The Twintones. Lazarus was employed as an engineer for AT&T Research and Development from 1958 until his retirement in the mid-1980s. They Shall Not Hurt – re-arranged by Lazarus’ son, composer Bruce Lazarus – is Arthur Lazarus’ first published composition.
| Instrumentation: | Piano |
| Language: | English, Hebrew |
| Voicing: | TB |
| Sacred or Secular: | Sacred |
| Descriptive Tags: | Jewish |
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| This is a small colection of original descants with complete or partial hymns. The descants are for Come, Thou long expected Jesus; O Come All Ye Faithful (descant and verse 5); Joy to the World; and See amid the Winter’s Snow (refrain with descant). ISMN 979-0-9025253-2-9 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| “Coney Island,” was written by Pulitzer prize winning American poet Sara Teasdale (1884-1933) and was first published in 1911 in the collection “Helen of Troy and Other Poems.”. Born in St. Louis, Missouri, she lived for many years in New York City. My immigrant great-grandparents settled in Brooklyn, New York, in the 1890’s, and lived […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| The words of this carol/motet are well-known from Britten’s teenage tour-de-force, but that double-chorus setting is out of the reach of most church choirs. The powerful text, alternating English and Latin in the style of medieval carols, warrants an additional, simpler setting. The work is suitable for concert performance, as well as for liturgical use […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| Charles Wesley’s hymn text based on the story of Jacob wrestling with the angel depicts a deeply human struggle for truth and understanding. This a cappella setting of the text grows with the building intensity of Jacob’s determination, finally breaking into the joy of revelation and reassurance in the final verse. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 4' | English | Written for my wife Jess Hobbs while at the Chalk Hill Artist Residency in Healdsburg, California. Its a sweet little love song written in a Gospel/Jazz style. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Written for my wife Jess Hobbs while at the Chalk Hill Artist Residency in Healdsburg, California. Its a sweet little love song written in a Gospel/Jazz style. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| This Spiritual strikes to the very heart of an enslaved people, fervently longing for freedom. The melody is quite simple, and is embellished with a layer of pathos, and yearning that is impossible to resist, or ignore. Absolutely appropriate for performance in a concert hall, as well as a liturgical setting. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 2'15" | English | Short choral blessing (text from the Old Testament) written as part of 2001-2003 Composer Residency at San Francisco’s National Shrine of Saint Francis of Assisi. Premiered by resident ensemble, Schola Cantorum SF | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Short choral blessing (text from the Old Testament) written as part of 2001-2003 Composer Residency at San Francisco’s National Shrine of Saint Francis of Assisi. Premiered by resident ensemble, Schola Cantorum SF | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| This early Nineteenth Century melody literally throbs with the pathos and dreams of an enslaved people, looking heavenward for deliverance. Scored for a cappella SATB choir, and soprano solo, this lush arrangement makes one stop in awe and wonderment, at such beauty born from the deepest despair. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| “Puzzle” is a 2-part, SA choral piece for children’s choir/ elementary choir. There is also a combined choir (SATB) version. Lyrics by Linda Trott Dickman. How can we resolve our disagreements? “Puzzle” suggests there is a way. The text begins “How to get along together / it’s a puzzle / Will we understand each other […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| THE SMALLEST SONG, a setting of a text by American poet Martha Collins, is a gentle piece, full of warmth and intimate emotion. The wordplay in the text is matched in the composition; phrases are slightly altered, inverted and developed as the work builds. Jazz-like harmonies infuse the piece with a soothing vitality throughout. “A […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||