This chapter examines the reception and reinterpretation of Neue Sachlichkeit in interwar Slovakia through the works of Alexander Albrecht and Alexander Moyzes. While Slovak musical culture remained largely conservative until the 1920s, both composers introduced new stylistic and aesthetic impulses that reflected the broader cultural shift towards objectivity, sobriety, and social engagement. Albrecht’s chamber works exemplify a moderate, counterpoint-based modernism rooted in German traditions, while Moyzes—strongly influenced by the civilist and leftist milieu of Prague—embraced themes of urban life, social critique, and popular idioms. The study argues that, despite limited awareness of Neue Sachlichkeit among local critics, both composers represent Slovak parallels to this aesthetic movement, adapting it to local cultural and political contexts.