“You have no idea how we feel when we always hear such a giant marching behind us": The giant's name was Beethoven, whose booming footfall Johannes Brahms heard at his back. And yet, after a long gestation period, he finally put his Symphony No. 1 down on paper: with a musical climax storming from conflict-ridden C minor into the radiant C major finale. The same key as in Joseph Haydn's Cello Concerto Hob. VIIb:1: Only rediscovered in the early 1960s in the Prague National Museum in a collection of the Czech Radenín Castle as a copy of ist various parts, the work, which was thought to be lost, became a minor sensation and developed in no time at all into a standard work that the French master cellist Gautier Capuçon has been familiar with from childhood. It was only in the last ten years, however, that the renaissance of the composer Mieczyslaw Weinberg began. Weinberg, a friend and companion of Dmitri Shostakovich came from Poland and had been able to flee to the Soviet Union to escape the Nazis: his works are an affair of the heart for Julian Rachlin and the Jerusalem Symphony Orchestra.