Not quite sure what you're getting at. Don't mention your last line if you're in Israel. Recall that Mahler and Klemperer were also 'Catholics'...
As far as I was concerned Felix Mendelssohn was a German composer (born in Hamburg) who happened to be Jewish. Furthermore, as a child he was bought up without any religion until conversion to Catholicism as a young boy. I do not regard him, any more than I do Copland or Vaughan Williams's friend, Gerald Finzi (seen as archetypically 'English') as 'a Jewish composer'. Of course, the Nazis, with their racial view of History, saw it differently (removing Mendelssohn's statue from outside Leipzig Town Hall and banning his music). Vaughan Williams was the son of the vicar but I'm not sure that anyone regards him as a 'Christian composer', especially as he was a self-confessed agnostic! As far as I'm aware Judaism is a religion and not a race.
I hope readers were pleased with the collection of reviews celebrating the birth sesquicentennial. I wonder if anyone shares my irritation at the constant references to Vaughan Williams as a primarily "pastoral" composer. For all that he was a collector of folk songs, loved the English countryside and expressed that love in his music, so much of it is far more challenging than the justly famous "lollipops" like Dives and Lazarus , the Lark Ascending and Greensleeves - all of which which I love, but they are not the bulk or core of his work. The "Pastoral" symphony and the Romanza of the Fifth (which does not actually have much to do with the English countryside) notwithstanding, you have only to listen to his symphonies as a whole - especially nos. 4, 6 and 9 - to hear why the composer was irked by that label.
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