this: The inclusion of sorrow and fear in the field of musical expression does not mean that one has to assume a continuously prophetical attitude with its implicit warning of approaching doom. Facing and including in music the realities surrounding us leaves us just at the point where the patient has told the doctor why and what he fears, which in itself will not cure him. In the realistic portrayal of a world in disorder, the artist, at least, must have a vision of order. His art will otherwise become as chaotic as the world around and within himself. But the urge for mental organization and for order cannot be satisfied by any complicated, philosophical equation. The answers must be simple and they must be unsophisticated, because truth and simplicity seem to be closely related in our minds. His first major solo organ composition, The Burning Bush, illustrates this well, having been commissioned for use on Emanu-El's newly restored and extended Casavant organ. Robert Baker, an eminent musician and teacher who had succeeded Saminsky as Emanu-El's principal organist, gave the first performance in 1956, approved of the work, played it again the following year at the International Congress of Organists in London, and brought it to the public's attention by including it later in many of his recital programs. Frohbieter said in her doctoral thesis: There is no other work like The Burning Bush written for the organ. The piece employed a rhapsodic, fiery, twentieth-century chromaticism and was the first serious Jewish work to be composed for the concert organ repertoire." In 1958 Berlinski completed another major work, a Friday-evening service entitled Avodat Shabbat for cantor, choir and organ, which had been commissioned by Cantor David Putterman of New York's Park Avenue Synagogue who was cantor in its first performance there in that same year. Some years later the work was being assessed for performance at Emanu-El and was submitted for examination by several musicians including Leonard Bernstein, who noted it to be "a fine compromise between tradition and somewhat contemporary sounds." Subsequently, Berlinski orchestrated and expanded the work for a concert performance conducted by Bernstein at New York's Lincoln Center for the Performing Arts in 1963. Writing after the first recording of this work, critic Max Dudious said in Audiophile Auditions: ... the cantata [sic] offers a range of musical expression quite unexpected in the usually tradition-laden realm of