In his Chanzuns Popularas Rumanchas (2019) Strasnoy has pickedup this same gauntlet and created a sort of Graubündner DesKnaben Wunderhorn. If a Swiss Wunderhorn is the sourcematerial, the auteur here is more Wes Anderson. It is an Alpinecaper movie, with yodelling mountaineers and alphornists inlederhosen playing bit parts. And from these chance encounters,magic escapes the mundane.
One of the many paradoxes of the history of music in the 20thcentury is that Luciano Berio, an Italian composer of unlimitedtalent, a founding member of the post-war serial avant-garde,broke through the glass ceiling of the general public mainly thanksto two works that do not belong to him entirely, two modal works,even tonal, at the ideological opposite of the so-called Tabula Rasawanted by the guardians of the atonal temple, two works that hedid not even write entirely himself: the Sinfonia and the FolkSongs. It must be said that it takes a great personality, a bigmouth, to fail and face the ayatollahs of academicism bypresenting as his own a cycle of arranged folk songs. The statement that Berio makes through these Folk Songs is one thatevery great artist should make at least once in his life: "I am anartist, so I do what I like".
The ubiquity of Berio’s Folk Songs in no way undermines theirgenius and originality. Yet now Berio has two twentieth-firstcentury confrères, and worthy ones too.
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