L’shana tova! Rosh Hashanah, the Jewish New Year, begins at sunset. The two-day observance commences ten Days of Awe, concluding with Yom Kippur, the holiest day on the Jewish calendar.

This Sunday night on “The Lost Chord,” we’ll have selections for the Jewish High Holy Days. We’ll hear a string quartet by Jacob Weinberg, dating from 1950. The work falls into three movements, which bear the respective subtitles “Rosh Hashanah,” “Yom Kippur” (the Day of Atonement) and “Sukkot” (the harvest festival).

Weinberg’s “Yom Kippur” is based on the familiar declaration of “Kol Nidrei,” best known to gentiles, probably, through the setting for cello by Max Bruch. Bruch, though not Jewish, always had a good ear for characteristic melodies of different cultures (e.g. the “Scottish Fantasy,” the “Swedish Dances,” the “Suite on Russian Themes,” etc.).

Emil Nikolaus von Reznicek – he of “Donna Diana Overture” fame – was likewise moved by the Yom Kippur melody, on which he wrote a large-scale set of orchestral variations, which we’ll also hear. Interestingly, in contrast to the reverential setting by Bruch, Reznicek puts the theme through a befuddling array of permutations, pivoting back and forth from light to serious. It’s not synagogue music, but it is fascinating.

We’ll conclude the hour with a moving arrangement by Patrick Sinozich of ”Avinu Malkeynu” (“Our Father, Our King”) by Max Janowski, performed by Chicago a cappella.

I hope you’ll join me for “Tones of Atonement,” this Sunday night at 10 EDT on WWFM – The Classical Network or at wwfm.org.

PHOTO: The ten Days of Awe are bookended by blasts on the shofar