Ewelina Nowicka came across Weinberg while researching Shostakovich, and her friend pianist Milena Antoniewicz drew her attention to Laks, with whom she recorded her own composition "Kaddish" in the version for violin and piano in 2011. The Polish-born violinist Ewelina Nowicka was not only deeply moved by the connection between Laks and Weinberg, having escaped the Shoah, it was above all the connection with the fate of her own family that made her want to put her artistic work at the service of the works of these two composers. Service here means not only post-creative interpretation, but also very specifically transformation and continuation through her own creation. Ewelina Nowicka describes her "Kaddish 1944", composed in 2007, as "a kind of psalm dedicated to the victims of the Lodz ghetto, the last ghetto in the occupied Polish territories, which was liquidated in August 1944." The composition was triggered by a letter from her great-aunt Ewelina Widell, née Szykier, from 1948, in which she documented the story of her survival and the story of the murder of a large part of her family. Weinberg's three youthful works, arranged for string orchestra by Ewelina Nowicka, take us into the workshop of a brilliant, precocious - Polish - composer. "Scherzo", "Sen o Lalce" (The Dream of a Doll) and "Nocturne" for violin and piano are among the few surviving pieces from Weinberg's time in Warsaw; he composed them in 1934 / 35 at the age of 15 or 16. His brilliant talent for making the most of the potential of a limited musical material or a simple structural idea is already evident here. The Poème for violin and orchestra from 1954, which Ewelina Nowicka arranged for violin and string orchestra for this recording, is one of the few works written before the 1960s, when Laks was able to build on his successes of the pre-war period. With this work, Laks places himself in the tradition established by Ysaÿe of the one-movement "tone poem" for one or more solo string instruments and orchestra. More intimate in expression and not bound by the formal conventions of the multi-movement instrumental concerto, virtuosity is placed entirely at the service of the poetic statement.