its thematic material from modes called in Yiddish shtaygers which are used in Ashkenazic cantorial improvisation and take their names from the first words of the prayer with which they are most often used. The first is an altered Phrygian mode which is of widespread use in middle eastern music, and known commonly as Ahava Rabboh (the first line of that prayer in translation begins, "With abounding love hast thou loved us ...") or Freygish when used in Jewish liturgical prayer recitation and in Klezmer music. The second is called Mogen ovos or Magein avot, a natural minor mode (the first line of the prayer in translation being, "Our forebears' shield, reviver of the dead, incomparable Lord ...". These two movements provide the parentheses for four others which reflect the breadth of Berlinski's inspiration and musical language, Movement 2, subtitled Motion and Silence, being just 28 bars in which phrase statements are followed by equal measures of silence, while Movement 3, Contemplation, which is in ternary form, begins with a quiet, reflective section followed by a build in energy which is finally resolved as the first section is repeated with some obvious elaborations. Of this movement, Berlinski said: In 'Contemplation' I have composed a prayer which cannot be found in any liturgy. The music itself becomes the prayer. The fourth movement, Light Motion, is a playful dance with strong reference to French symphonic organ writing, while the fifth movement, Pulsation, has a hypnotic repeated note pattern in the pedal part. According to Frohbieter, Berlinski drew a parallel between this movement and the heart attack which he had experienced four years before writing this work, with the abrupt ending of its first section representing the moment of the cardiac arrest itself. Washington Between his arrival in 1963 and his retirement in 1977, Berlinski concentrated largely on writing liturgical music for use at the Reform Hebrew Congregation. Two notable exceptions are Sinfonia No. 4, The Tetragrammaton, and Sinfonia No. 5. Composition of Sinfonia No. 4, The Tetragrammaton for Organ and Orchestra, was started in New York, December 1962, and dated at final measure, 1 November 1965 (Washington, DC). The work is dedicated to Bethel Knoche, the organist at the RLDS Auditorium in Independence, Missouri. Knoche was a collaborator and student of Jewish liturgical music interpretation with Berlinski. The tetragrammaton are the three Hebrew letters used to represent the name of God. Berlinski