From 1943 to 1976, the Park Avenue Synagogue in New York City commissioned annual settings of the Jewish liturgy from contemporary art music composers. As a Royce project, Nate plumbed the letters, notes, and ephemera of the series's impresario, Hazzan David Putterman, and read books on Jewish music and history in order to place this unique project in its proper historical context. By examining the motivation behind this series, the experiences of the composers involved, the reception of the music, and the music itself, Nate described the attempts of one American Cantor to keep his religion's musical tradition alive and relevant in the aftermath of the Holocaust.