Last month, Senior Culture Editor Joshua Barone of the New York Times used the opportunity of a “Critic’s Notebook” to consider the plethora of Weill’s works that have been performed without an audience and streamed online during the pandemic. He wrote, “Weill proved a master of balancing disparate voices, with a keen ear for precise orchestration. It’s why his works from the 1920s rarely call for a large ensemble — and perhaps why so many of them… have been programmed during the pandemic.” Read the NYT article here.

The Kurt Weill Foundation compiled a list of authorized arrangements and reduced orchestrations of Weill works for stage and concert performances. Read it here.