They are mostly by Weill, but Stanley Silverman made some smallish adjustments to them. Which was odd because he also claimed that the production was using Weill's true original orchestrations for the first time in the U.S. As far as I can tell, that was really not true. And he also, perhaps at Foreman's request, did some new vocal arrangements. It is true (I think) that the Foreman production stuck to the original keys, which the Theatre de Lys production had not, and many of those key changes made their way into the licensed version of the Blitzstein translation. And I better stop writing or I'll start talking about more of the specifics and . . . I should stop.