To bigotry no sanction

An American Jewish cantata

By Arlene Stolnitz

Recently, an historic event in America’s history was the source for an important new musical work, “To Bigotry No Sanction”…to persecution no assistance. It was commissioned and presented by Reform Congregation Keneseth Israel (KI) in Elkins Park, Philadelphia.

Known as a contemporary Jewish cantata, its composer, Jonathan Comisar, just happens to be from my hometown, Rochester, New York. Jonathan is a graduate of the Eastman School of Music in Rochester, Oberlin Conservatory and Hebrew Union College of Sacred Music. His impressive credentials in composing music, too numerous to be mentioned here, can be found online.

Actually, I knew Jonathan’s family back in Rochester since our families belonged to the same temple. We even shared Hebrew School, carpooling with his mom. His brother is married to the daughter of a good friend of mine, who only recently passed away. In a shiva call for my friend last month, I was able to connect with the family and share the article I have written. Small world!

Jonathan’s cantata is so relevant to the world we live in today; I could not resist writing about the comparison. Here’s the story…

On August 17,1790, the Hebrew Congregation of Newport, Rhode Island (known today as Touro Synagogue) presented a letter, written by their representative, Moses Seixas, to President George Washington on his visit to their city. Washington’s visit was largely ceremonial, but Seixas, knowing Washington’s views on religious freedom, took the opportunity to write the letter on behalf of his congregation, “the children of the Stock of Abraham.”

In his letter, Seixas welcomed the newly elected president and stated that, although much of world Jewry lived under the rule of monarchs and despots, members of his congregation looked forward to “a great new American experiment insuring their valuable rights as free citizens.”

Washington’s response, using some of the text from Seixas’ letter, is what is remembered today, and forms part of the lyrics of the cantata. It was the first affirmation of the free and equal status of Jews as American citizens and laid the groundwork for much of what was written later regarding the separation of church and state. It is especially pertinent today.

“All possess alike liberty of conscience and immunities of citizenship. It is now no more that toleration is spoken of, as if it was by the indulgence of one class of people, that another enjoyed the exercise of their inherent natural rights. For happily, the Government of the United States, which gives to bigotry no sanction, to persecution no assistance, requires only that they who live under its protection should demean themselves as good citizens.

“May the children of the Stock of Abraham who dwell in this land, continue to merit and enjoy the good will of the other inhabitants; while everyone shall sit under his own vine and fig tree; and there shall be none to make him afraid.”

Washington’s response is on display in the Memory Gallery, American Treasures of the Library of Congress.

I am intrigued by the concept of this cantata, especially knowing how relevant it is in today’s world. The professional performance of this stunning work is conducted by Kensho Watanbe, featuring members of the Philadelphia Orchestra and a multicultural choir. Introductory readings are by renowned interpretive actor Dean Malissa as “George Washington.”

The discussion with the composer, which follows the performance, is especially meaningful.

“Do we have wisdom? If we have wisdom to make the best use of the advantages with which we are now favored, we cannot fail…”

These are the words buried in the letter written by George Washington to the Jews of Newport.

The question remains and is still germane today…. “Do we have the wisdom?”

I urge you to listen to this wonderful work in its entirety on YouTube, bit.ly/ki-tbns.

Arlene Stolnitz, founder of the Sarasota Jewish Chorale, is a member of the Jewish Congregation of Venice. A retired educator from Rochester, New York, she has sung in choral groups for over 25 years and also sings in The Venice Chorale. Her interest in the preservation of Jewish music of all kinds has led to this series of articles on Jewish Folk Music in the Diaspora.