Drastic changes in world and music are highly notable in consideration of a piece featuring in less than half a decade in Germany. Der Lindberghflug was specifically composed for radio to text for the narration of a story of transatlantic flight by Charles Lindbergh, an American pilot. (Weill & Paul 87).
In the music, a vivid description of how Lindbergh flew for over thirty hours from New York to Paris where he fights with many challenges like fog and fatigue but ultimately the crowd applauds his arrival. An intense emotional note is coolly detached when Lindbergh decides to take off despite all the difficulties he is expecting to face in “Introduction of the Pilot.” Similarly, as Brecht avoids personal expression in text moving out of his way, Weill’s music is same (Brecht and Weill 85). This is a clear indication that “Introduction of the Pilot” was intentionally not meant simply be a hit song. However, for a better understanding of Lindberg’s Flight similar and diversifying elements, a thorough check up of the political and social factors used to shape music during years of interwar.
New Objectivity against Romanticism
The “New Objectivity” well explained by rejection characterized by both Romanticism and Expressionism can be illustrated by the “hard, cold, masculine tone” characteristics in recent music (Brod 86). In “Women and the New Objectivity” essay, the Czech literary critic characterized it to the disillusionment of youth who had adopted mistrusting all that denied them their heart passions in a proper manner as a result of the war. Furthermore, George Antheil in his memoir Bad Boy of Music described residing in Berlin after the war he had to clean the old poesy remaining in him. He also described that he could no longer withstand Richard’s Strauss mountainous sentiment.