Dear customers, we would like to inform you that due to the current situation concerning the novel corona virus, exit restrictions have been imposed in Austria. For this reason we kindly ask you to send all requests in written form to [email protected]. Of course, you are still welcome to use the various contact forms on our website and place orders online in our webshop. We ask for your patience in case we are not able to process your requests at the usual speed - due to legal regulations, companies in Austria are currently only able to operate at reduced capacity. However, we would like to assure you that Universal Edition will continue to look after its customers in times like these. Best regards, your Universal Edition team.
On 5 February 1929, Kurt Weill wrote a letter to UE (excerpt):
I heard the Kleine Dreigroschenmusik (I deliberately avoided using the word “suite”) yesterday at rehearsal; I am very content with it. There are eight numbers in all new, concert versions, with some new intermediate strophes and an entirely new orchestration: two flutes, two clarinets, two saxophones, two bassoons, two trumpets, one trombone, one tuba, banjo, percussion, piano. I believe the piece can be played an awful lot, since it is precisely what every conductor wants: a snappy piece to end with.
I will send you the score immediately after the performance; Klemperer had the temporary parts made in the opera.
Wiesengrund-Adorno philosophised about the Kleine Dreigroschenmusik in his critique of composition in the 1929 Anbruch (excerpt):
What a potpourri! … that is all, scarcely a melody is lacking, they surge by so urgently that occasionally one of them collides with another; they contain one another in close formation, the maimed, damaged and worn out ones which are yet seditious, forming into a protest march.