It’s the second movement of Leonard Bernstein’s choral work, Chichester Psalms. A boy soprano (or a countertenor), in the “role” of the shepherd boy, David, sings in Hebrew the opening verses of Psalm 23. He is accompanied–sparingly, fittingly–by the harp. The first several measures are tender but not tentative; filled with sentiment, but without sentimentality (this per Bernstein’s instructions). When the women’s voices take over the text at גַּם כִּי־אֵלֵךְ בְּגֵיא צַלְמָוֶת . . . (Yea, though I walk through the valley of the shadow of death . . .) there’s an ethereal echo-canon effect. This part of the movement, when executed well, is something sublime.
The mark of a good wonder-worker is his similarity to wonder-workers of the past. Though Jesus exceeded Moses in teaching authority, his miraculous acts are patterned after his prophetic forebears Elijah and Elisha.
Unlike the synoptics, the evangelist John reports a three-year ministry
for Jesus, marking his time through the passage of three Passovers. But
Jesus also observes three other Jewish feasts in the course of John’s