This chapter explores the applicability of Neue Sachlichkeit as an aesthetic concept beyond Germany, focusing on Swedish composers Gunnar de Frumerie and Erland von Koch. While neither explicitly aligned with the movement, their works from the 1940s reflect key traits of Neue Sachlichkeit: clarity, objectivity, simplicity, and engagement with folk material free from romantic nationalism. By analysing Symfoniska variationer över Vårvindar friska and Nordiskt capriccio, the chapter argues that these compositions embody a broader, transnational Sachlichkeit aesthetic. This perspective challenges the limitations of traditional Swedish music historiography and proposes a reinterpretation of the so-called 1930s generation through a synthesis of neoclassicism and Neue Sachlichkeit.