Kurt Weill’s fame is intrinsically linked with the meeting of Bertolt Brecht and himself in the bustling city of Berlin in the 20s, combining expressionism with strong ideological and social ideals. From the brief meeting between the two, some unforgettable masterpieces were born such as The Threepenny Opera (Die Dreigroschenoper), followed by Aufstief und Fall der Stadt Mahogonny in 1930. His compositions of this period reached their peak in the style for which he became famous, influenced by jazz and light music. Racial laws forced Weill to emigrate and he took refuge in the United States. This new world seemed to abandon his style for which he is remembered today, forever linked to the unrepeatable era of Europe in the 20s and 30s, and he began to write mostly for Hollywood and Broadway; he married one of the performers of his work, the formidable singer, Lotte Lenya. Among the few pieces of ‘cultured’ music left for us by Weill, the son of the first cantor of the Dessau Synagogue who received an excellent musical education (studying with the likes of Busoni), we find the concerto for Violin and Strings Op. 12 from 1924, and a couple of symphonies.