Črnko – Brešan – Medak: Tri šansonijera / Three Chansonniers

Through music — poetry in practice, almost as a form of therapy — how powerful that sounds! Yet it is not easy to write about a city with love and empathy, to love sincerely and passionately even in a virtual space, and ultimately to speak out in a socially conscious and engaged way, without expecting a positive outcome.

One might well ask who would find such a musical protest appealing, given how far removed it is from the seriousness of everyday obligations, the lies, and the bad temper they produce? Still, it is worth trying to speak and sing the word in all its fullness and beauty — to draw attention to what is close to us: moments from which we inevitably emerge both wounded and defiant; the recycled narratives of television screens; conspiracy theories; and the various forms of deception and farce that surround us.

Art as moral reflection through entertainment — chanson is, after all, a form of song, but not just any kind. What we are dealing with here belongs to a broader cultural tradition rather than any narrow local interpretation.

These small dramatic miniatures, half spoken and half sung, often built on ironic twists and inevitable resolutions, require a highly refined craft: tightly constructed forms in which narrative tension and resolution are carefully balanced within strict limits.

After all, the Croatian musical landscape features no fewer than three festivals that proudly include the word chanson in their titles — at least on paper. One might therefore ask how far this “trio” has actually moved away from its roots, or whether those roots have quietly turned their back on contemporary singer-songwriter practice.

Cantus, 2021
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