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Another interesting theme is offered by the violin concertos composed by three Israeli authors: Paul Ben-Haim, whose music we now know quite well; Noam Sheriff (see above); and Oded Zehavi (see interview with him in R. Fleischer, Twenty Israeli Composers, ch. 20, available on bSpace). In these compositions, they all confront not only one of the central forms of European art music (the Concerto), but also the musical icon of Jewish culture: the violin (think of Chagall, of Fiddler on the Roof, of the long stream of successful East-European Jewish violinists). The following movements highlight the composers approach to the violin and its loaded cultural aura, but they also assert a very clear Israeli musical agenda, based on Mediterranean and especially Oriental themes (which we have already explored during the previous weeks). Israeli Violin Concertos (Paul Ben Haim 1960, Noam Sherif 1986, Oded Zehavi 1998), Living Era 1038, 1998, LCD 5592 Track 2: Ben-Haim, Second movement: Andante affettuoso (1960) Track 5: Sheriff, Second movement: Allegro non troppo (1986) Track 8: Zehavi, Second movement: Andante (1998) Other relevant items that you may want to listen to can be found in Zehavis Violin concertos other movements. About eight minutes into the First movement, chimes can be heard, evoking a tolling church bell cutting through the desolation of a Christian village in war-torn Lebanon, heard by the composer during his military service in the Lebanon War. The Third movement is described by the composer as an oriental wedding with visitors from central Europe. (Note that you are not required to listen to these other movements, but perhaps the themes behind them may be of interest to you!)