http___mbz.hr_index.php_opt_news_act_mlist_id_2372_lang_hr_1.xml
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The Music Biennale Zagreb is an international festival of contemporary music initiated back in 1961. This cultural event had immediately gathered the eminent names on the international music scene, thus having received a strong response as well as an incentive in its own environment. The most prominent figures in the organization of Music Biennale Zagreb in its beginnings, Milko Kelemen (the MBZ initiator and president), Ivo Vuljević (head of MBZ promotion) and Josip Stojanović (the director of MBZ), worked tirelessly to ensure success of this extraordinary project in need of special efforts in convincing its own opponents that with MBZ the democratisation of music and culture in Yugoslavia is taking place. This was the period when New Music flourished. The focus of this claim was particularly pointed towards the areas of electronic and electro-acoustic music as well as towards music scene and instrumental or music theatre. In those days the Music Biennale Zagreb was a platform of contemporary music detached from any form of convention, thus not having turned into a classic festival, but rather prompted a possibility and necessity to confront, re-examine and disclose the reasons, style or experience of a new and distinct view of life. Of course, this view was not the only one, nor was it unambiguous, but its idiom could be easily identified. At the same time, the contemporary music scene of the period included the authors like Igor Stravinsky, Benjamin Britten and Dmitry Shostakovich, just to name a few, as well as many other composers considered masters of the 20th century music, most of whom attended the Biennale. Although some of those composers subsequently, in retrospective, expressed doubts about 'their' period of the avant-garde, the Biennale years of the 1960s and 1970s provided incentive, thus having sublimated the very essence of the entire international contemporary music scene and having made a significant and profound impression on various fields of creative activity. Over the subsequent years, the festival framework assumed a more distinct and compact structure, the mature reflection enhanced the initial impetus. Different views on topics came as the natural course of events, having been established as a continuous feature depending on the festival's leadership. Different festival themes were in focus, from electronics to women composers; several countries were stressed in the festivals' programs like Sweden or Canada for example. There were festivals within the main festival (popular Urbofest or World New Music Days that was held in Zagreb in 2005 and 2011), numerous exhibitions, seminars, workshops, etc. Still MBZ was always focused on the institution of composer's persona. Messiaen, Stockhausen, Stravinsky, Cage, Berio, Penderecki, Lutoslawski, Maderna, Kagel, Globokar, Nono, Xenakis,Lucier, Schnebel, Reich, Murail, Maxwell Davis, Birtwistle, Schaffer, Nyman, Cerha, are only some that were MBZ's guests. From today's perspective and after 50 years of experience, it is hard to extract only some compositions, which were mostly performed at the MBZ for the first time (at least in this part of Europe), extraordinary performers, multiple projects, shows, concerts and installations, symposiums, and also all casual, random encounters and talks, that are built into the MBZ of today - the MBZ that is defined both by its tradition and by its beginnings as well as by the position in its own community and on the international music scene, but also by the relationship with the future generations and trends.
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Muzički biennale Zagreb međunarodni je festival suvremene glazbe, osnovan 1961. godine. Prepoznajući potrebu i spremnost Zagreba pa i Hrvatske (tada dijelom Jugoslavije), za suvremenom, avangardnom i eksperimentalnom glazbom, njegovi osnivači - Milko Kelemen, Ivo Vuljević i Josip Stojanović, svojim su neumornim radom i neosporivim uvjerenjem u uspjeh, u Zagreb privukli najvažnije aktere međunarodne glazbene scene, što je rezultiralo izvrsnom recepcijom i dodatnim poticajima domaće sredine. Biennalski počeci vremenski su smješteni usred procvata Nove glazbe te novih smjeranja, zaokreta, propitivanja i u ostalim kulturnim disciplinama i umjetnostima. No, MBZ je već tada nudio profiliranu platformu, sigurno mjesto za susrete glazbenika, kako skladatelja tako i izvođača iz svih dijelova Europe i šire. Posebna pažnja bila je usmjerena na područja elektroničke i elektro-akustičke glazbe te glazbene scene i instrumentalnog, odnosno glazbenog teatra. MBZ je spajao razne umjetničke grane, preispitivao tradicije, težio novom i drugačijem. Tadašnja je suvremenost obuhvaćala skladatelje poput Igora Stravinskog, Benjamina Brittena ili Dmitrija Šostakoviča, te mnoge druge, tada već klasike 20. stoljeća, od kojih je većina gostovala na MBZ-u. I premda će mnogi od njih kasnije, često retrospektivno, sumnjati u «svoje» vrijeme avangarde, bijenalske šezdesete i sedamdesete godine potaknule su i sublimirale bitak cjelokupne svjetske suvremene glazbene scene i ostavile važan i trajan trag u svim područjima umjetnosti. U godinama koje su dolazile okvir festivala postajao je jasnije i čvršće strukturiran, a zrelost refleksije nadogradila je snagu početnog impulsa. Tematski pogledi nametali su se prirodno, uspostavivši se, ovisno o umjetničkom vodstvu festivala, kao rado prihvaćani izazov. Tako su se izmijenili tematski okviri od elektronike do ženskog skladateljskog pisma, a u samom glazbenom programu često se stavljao naglasak na pojedine zemlje-partnere. Odvijali su se festivali unutar festivala (popularni i dugovječni Urbofest ili Svjetski dani nove glazbe ISCM-a; u Zagrebu održani čak dva puta, 2005. i 2011.), brojne izložbe, simpoziji, gostujuća predavanja i dr. Ipak MBZ u središtu svojeg fokusa nosi instituciju samog skladatelja. Messiaen, Stockhausen, Stravinski, Cage, Berio, Penderecki, Lutoslawski, Maderna, Kagel, Globokar, Nono, Xenakis, Lucier, Schnebel, Reich, Murail, Maxwell Davis, Birtwistle, Schaffer, Nyman, Cerha, samo su neki koji su gostovali na MBZ-u. Iz današnje perspektive, nakon 60 godina iskustva, teško je izdvojiti skladbe, koje su većinom upravo na MBZ-u doživjele svoje prve izvedbe, vrsne izvođače, mnogovrsne i mnogobrojne projekte, predstave, koncerte i instalacije, simpozije, ali i upravo one slučajne susrete i razgovore, koji su utkani u MBZ kakav imamo danas – MBZ kojeg podjednako određuje njegova tradicija, mjesto u vlastitoj sredini kao i ono na svjetskoj sceni. Ali pogled je kontinuirano ostao okrenut ne samo prema najrecentnijem, već i prema potencijalnom, prema budućnosti, prema novim i tek nagovještenim trendovima, kao i prema novim naraštajima skladatelja, izvođača, umjetnika te publike.