celebration." Hence this sinfonia is made up of five movements, one for each of the holy days, Rosh Hashana (New Year) and Yom Kippur (the Day of Atonement), and one for each of the festivals, Sukkoth (Tabernacles), Pesach (Passover) and Shavuoth (Pentecost), with melodies drawn from what are called in the Ashkenazic tradition Missinai tunes. Although, in view of the traditional association between each Mis-sinai tune and a specific day in the Jewish calendar, each movement can be performed as an independent prelude on the appropriate day, Frohbieter points out that, because of the way Berlinski has constructed it, the entire sinfonia "coheres as one grand work ... a work of concert organ repertoire", the implication being that this work has potential use both as a recital piece and within the synagogue liturgy. Sinfonia No. 3, subtitled Sounds and Motions for Organ, is a secular work, in the sense that it was designed to explore the full range of expressive capabilities of the symphonic organ. It was written in 1961 and dedicated to New York organist Claire Cocci, at that time organist of the New York Philharmonic, who had already heard The Burning Bush. She gave the premiere performance in New York that same year. The work has six movements entitled Trumpets, Motion and Silence, Contemplation, Light Motion, Pulsation, and Polymodal Sounds and Motions, and Berlinski employs a variety of techniques - changing rhythmic patterns, chromaticism, contrasting consonance and dissonance, occasional use of the serialist approach, dramatic gestures and sudden silences - to express his thoughts and feelings. A question regarding the inspiration of this work, by contrast with the overtly Jewish content of Sinfonias Nos. 1 and 2, comes into focus, however, when considering Berlinski's own explanation of Movement 1: It is perhaps of little importance whether this music is, in any sense of the word, Jewish. The work speaks in a contemporary musical language, but I think that I can never divest myself of the shadow of the Holocaust. The signature instrument of Judaism throughout Israel's history has been the trumpet. The trumpets of this first movement are not the trumpets of the High Holidays. They are not trumpets of joy. The trumpets in Sinfonia No. 3 are trumpets of the Holocaust. They spell doom in cataclysmic events. Likewise, the last movement, with the arresting subtitle Polymodal Sounds and Motions, a set of variations in chaconne form, derives