Aesthetically, the historical difficulties behind the work don't matter a jot. This is a major piece, in a vein similar to Weill and Brecht's Jasager school opera. I've written before that Weill found his artistic voice at a very young age. Most of the music on which his present reputation rests appeared before he was thirty, and he died in 1950, at fifty years old. Because Schoenberg, Adorno, and Webern had written Weill out of serious consideration of modern music and because Weill made money in Germany with Threepenny Opera and in the United States composing for Broadway, some may find it hard to appreciate Weill's genius for innovation, particularly in the theater and the relation of music to dramatic text, and the extent of his achievement.
Many major works remain unrecorded.
Some of his catalogue has even disappeared. It's ironic that Schoenberg found himself at odds with Weill, because musically the two shared a lot - notably, a musical inheritance from Mahler. Weill once stated that no one could really understand his violin concerto who didn't know something of Schoenberg, and his serious criticism always gave the older man pride of place in modern music, despite his disagreements over whether art music should appeal to a broad audience. Furthermore, in 1928, Schoenberg himself nominated Weill for membership in the Prussian Academy of Arts. Kim Kowalke, ed.