If the concept of the avant-garde were to be understood in terms of styles and techniques as the more radical section of modernism, kulturradikalisme would hardly qualify. However, if kulturradikalisme is recognised as a serious challenge to the idea of art as a sacred sphere detached from everyday life, it becomes clear that it continues an earlier avant-garde position: that revolutionary art as such can change society. Artists recognised that avant-garde art did not communicate with society as long as it remained within small circles of artists and connoisseurs. Thus the priorities were reversed but not abandoned: artists should fulfil the task of providing art where it was needed while still producing modern art. How this concept was applied in Danish musical life will be the topic of this essay, using the reception in Denmark of Kurt Weill (1900–1950) as example.