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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.