Studio 14, Radio Slovenia
Ladies and gentlemen, dear colleagues and guests,
We must acknowledge that Slovenian popular music has been experiencing a period of stagnation over the past twenty years, particularly in the field of pop songs and chansons. This decline is also reflected in the reduced presence of domestic music on radio broadcasts. In response to this issue, the state has even implemented a regulatory measure requiring 40 percent of broadcasted music to be domestic. However, resourceful music editors, mindful of audience preferences, often schedule a substantial portion of this quota during late-night hours. Unlike Slovenia, our neighboring countries do not enforce such laws. Croatians proudly embrace their pop songs, Italians cherish their canzoni, and even Austrians and Hungarians maintain a stronger connection to their domestic music than we do. Given that music is an essential cultural marker of every nation, we must ask ourselves: where has the Slovenian musical identity gone? Some of it remains preserved in folk music, yet many inhabitants of Slovenia’s larger cities feel a certain reluctance toward this traditional genre. Today, only a handful of singer-songwriters and creators of popular music produce works that will withstand the test of time. Listeners, whether consciously or unconsciously, form attachments to songs that resonate with them. Lyrics and music go hand in hand—authors lacking knowledge, creativity, or imagination quickly fall into clichéd rhyming patterns or musical austerity. While melancholy is one of the defining features of Slovenian folk and artistic songs, the past century has also gifted us with many optimistic musical contributions, providing a necessary emotional balance within the popular music scene. Among the 34 submitted lyrics set to music for this year’s festival, more than half expressed feelings of lethargy, melancholy, suffering, bitter memories, and vague daydreaming. Of course, there is nothing inherently wrong with sadness and pathos—when expressed effectively, they can deeply move the listener. An author’s work is like their child, and every creator believes their own child is the most beautiful. This is why Slovenian authors of popular music, particularly newcomers and less established artists, must cultivate a healthy degree of self-criticism. Undoubtedly, some authors whose songs were not selected for performance today may feel that they were treated unfairly or that their work was misunderstood. However, they must recognize that the jury’s decision, in itself, is a form of response. The voice of the people has its opposite: the “silence of the people.” Sometimes, audiences simply do not react; they continue their lives unaffected, showing little interest in musical works that fail to connect with them on a deeper level. Every author must understand that art is, fundamentally, a dialogue with others. The organizers of the Chanson Festival do not seek to suppress creative expression. Instead, we aim to provide a mirror—one that is often obscured by the indistinct crowd of listeners, making constructive feedback difficult to discern. It is therefore vital that RTV Slovenia, as the country’s leading cultural institution, actively supports the creation of new works, provides opportunities for their recognition, and offers professional critique. With the Slovenian Chanson Festival, we strive to move away from the glamour, pomp, and superficial glitz that often accompany pop music. Quality music does not require such embellishments to endure. Our hope is that this event will cultivate an environment where artistic expression can flourish because Slovenians are a nation of creators. However, we must set high standards for ourselves. The selection criteria for the best chanson include the persuasiveness of the lyrics, the originality of the music, and the overall performance and arrangement. Let us continue to nurture musical excellence and strengthen the presence of Slovenian chanson for future generations.
Dr. Žiga Stanič,
member of the jury