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  Muzički Biennale Zagreb...  
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Tonči Bilić, dirigent (Hrvatska)
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Tonči Bilić, conductor (Croatia)
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Tajnica Opere SNP: Emilija Bilić
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SNP Opera Operating Manager: Lado Leš
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Ivana Bilić, udaraljke
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Ivan Batoš, piano
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Vremenski limitirajuća forma od 5 minuta bila je izazov skladateljima koji su bili primorani „pokazati što umiju“ u vrlo malo materijala, te nisu imali prostora razvijati svoje glazbene ideje. Svi članovi prosudbene komisije složili su se kako je taj izazov izvrstan način konciznog skladanja, što je za neke autore bio problem, a neki su vrlo uspješno savladali ograničenja koja Natjecanje nameće.
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The limitating 5-minutes form was a challenge to the composers who were forced to „show what they can do“ in very little material, and had very little space to develop their musical ideas. All jury members agreed that particular challenge is an excellent way of concise writing, which was a problem for some of them, while others managed to surmount the limitations of the Competition.
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Bilo je bitno da djelo ima određeni luk, oblik koji ima glavu, rep. Jako je važno i to da smo u preliminarnim gledanjima (dok smo odvojeno gledali) izdvojili oko 17 partitura koje su već unaprijed dobile tri glasa. Tako smo s otprilike 25 partitura ušli u drugi krug. Profesionalni i stručni kriteriji i prosudbe su nam bili usklađeni.
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: My impression is that the form was a bit of a problem for the composers. It was important for the score to have a certain arc, a form with a clear begining and ending. What is interesting is that while we were evaluating the scores separately, we singled out around 17 scores who got all three votes. So, with around 25 scores we entered in the second circle. Our professional artistical criteria were in harmony.
  Muzički Biennale Zagreb...  
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Najistaknutije osobe prvog Muzičkog biennala Zagreb koje su svojim neumornim radom osigurale uspjeh ovog za one prilike iznimnog festivala, te uvjerili protivnike kako se radi o nužnoj demokratizaciji jugoslavenske glazbe i kulture, bili su Milko Kelemen (osnivač i predsjednik MBZ-a), Ivo Vuljević (šef propagande MBZ-a) i Josip Stojanović (direktor MBZ-a).
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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.
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Distorzija, zasićeni slog te elementi psihodeličnog rocka bili su dijelom njegova glazbenog svijeta; stopljene izobličene boje akustičkih i električnih instrumenata, kao i dodaci poput usne harmonike i sl.
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Prominent Italian composer Fausto Romitelli was an indispensable part of the Italian music scene and culture. As a student of Franco Donatoni and later on a collaborator of the French spectralist ensemble L’Itinéraire, Romitelli tore down the barrier between art music and popular music. Distortion, saturation, and psychedelic rock were part of his musical universe; blended distorted colorations of acoustic and electric instruments as well as accessories such as harmonica create a hallucinatory atmosphere.
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Njihovog uspjeha ne bi bilo bez sjajnog Cantus Ansambla pod ravnanjem maestra Ivana Josipa Skendera, redateljica Dore Ruždjak Podolski te fantastičnih, požrtvovnih i ovoj luckastoj igri potpuno predanih pjevača. To su bili Gorana Biondić, Ivana Srbljan, Miljenko Đuran i Ozren Bilušić.
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Last night at the &TD Theater there was literally no place for an extra chair, and after the first complete performance of all five episodes of the Soap Opera many were smiling broadly. When will the next performance be? When will the new season of this soap opera start? These were the questions one could hear after the performance. The composers Mladen Tarbuk, Mirela Ivièeviæ, Zoran Juraniæ, Silvio Foretiæ and Gordan Tudor and the author of the drama template Irena Škoriæ received standing ovations for their work on this project, which was created in co-production between the Cantus Ensemble, the University of Zagreb Student Center's Culture of Change and the Music Biennale. Their success would not have been possible without the excellent Cantus Ensemble conducted by Maestro Ivan Josip Skender, director Dora Ruždjak Podolski and fantastic, dedicated singers who were totally committed to this silly game. These were Gorana Biondiæ, Ivana Srbljan, Miljenko Ðuran and Ozren Bilušiæ.
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: U partirurama smo tražili suvremeni glazbeni jezik koji je primjeren tradiciji Biennala, bili smo otvoreni za sve stilove i glazbene ideje koje smo mogli vidjeti, a vidjeli smo ih zaista različite. Imali smo vrlo tradicionalnih partitura, ukorijenjenih u pozitivni konzervativizam, kao i vrlo suvremenih.
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: In the scores we were searching a contemporary musical language suitable for the Biennale's tradition, we were opened for all musical styles and ideas we could see, and we saw really different ones. We encountered very traditional scores, rooted in a positivistic conservatism, but also some were very modern. As my colleagues said, it was very important to grasp what will happen at the performance, how it could really sound live. Besides the help of our pianist colleague who played some of the works, we practically didn't have any soundtrack. So we tried to „hear“ the work through the visual experience. The practical experience of my colleagues from the Jury is very important because that kind of experience is needed to be able to transform the score form the visual to the audio segment. In my opinion we have done a good job, we were square, quick and efficient. We were searching for something fresh, something good which will impress the audience. I feared one thing which I think we managed to avoid – to choose similar compositions and so 50 minutes of music would sound as one composition. So we were careful the 10 chosen pieces differ from one another.
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U tom se slučaju radi o vježbi iz pisanja. Ovdje je pristigao i jedan dio partitura čiji su autori bili „zatrovani“ idejom o pisanju, umjesto idejom o stvaranju glazbe. A to se odmah vidi na prvoj stranici.
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: In this context I find it to be very important to distinguish a writing excericise from real composing. In many pieces we have seen the composers' skills in managing the computers' programme, but that doesn't mean the result is real music. A real composition starts from an idea, after which the composer chooses in which way it will be written. Sometimes it goes the other way round – they start to write without an idea believing they are creating real music. In that case, it is a writing excercise. Here we got a number of scores whose authors were „poisoned“ by the idea of writting, instead of the actual music-making. But that is obvious from the very first page. On the other hand, we got a lot of really interesting works where you can see the composer had in mind an idea about the result. When you compose you have to have in mind the listener as well. Some works are very good combinations of sound colors and these ten chosen works deserve to be heard. Some composers are very skillful in writing but when you play the piece it turns out it doesn't work. And we are here tu judge that. For example, we have received one work written in such a way two pianists ought to play it. You can see the composer wrote it on his computer, but didn't have an actual idea whether a pianist can really play it.
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Belgijski pijanist, koji je jučerašnji dan zaključio sjajnim ponoćnim recitalom, bio je oduševljen cjelokupnim nastupom festivalskih solista. Uz Kaju Farszky bili su to violinist Martin Draušnik i violončelist Mihovil Karuza na čijem su programi bili skladatelji u fokusu 28.
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I am not sure that in Belgium, my homeland, there is a percussionist who plays marimba so wonderfully as your Kaja Farszky – said Daan Vandewalle, the guest at yesterday's Artist Talk. The Belgian pianist, who concluded Thursday with his excellent midnight recital, was thrilled with the overall performance of the festival soloists. Along with Kaja Farszky, these were the violinist Martin Draušnik and the cellist Mihovil Karuza, whose program consisted of the composers who were the main focus of the 28th MBZ – George Benjamin, Bruno Mantovani, Kaija Saariaho and Michel van der Aa. The idea of honoring and meeting the five famous European composers, including also Thomas Adès, is an exceptional benefit for the Croatian music community because of local artists who were engaged for performances of their works. All of them, including the Croatian String Quartet and the guests at their concert at the HGZ, have worked very hard and have shown the mastery of contemporary scores. In doing so, they have once again confirmed the importance of the Biennale tradition of Zagreb. The concert of the Croatian Radio and Television Symphony Orchestra conducted by Maestro Johannes Kalitzke will certainly be remembered as one of the largest feats at the 28th MBZ. The orchestra performed a large and highly demanding score of each of these five composers. The Croatian soloists, along with the orchestra, were brilliant. In addition to his virtuosity, the clarinetist Davorin Broziæ also demonstrated an unprecedented fitness at the concert for clarinet and orchestra by Kaija Saariaho, and the pianists Katarina Krpan and Danijel Detoni as well as the mezzo-soprano Martina Gojèeta Siliæ should also get medals for their performances. It is a great shame that the Croatian Radio and Television decided not to broadcast and record this – we could now even say anthological – concert of their greatest and most important ensemble.
  Muzički Biennale Zagreb...  
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Belgijski pijanist, koji je jučerašnji dan zaključio sjajnim ponoćnim recitalom, bio je oduševljen cjelokupnim nastupom festivalskih solista. Uz Kaju Farszky bili su to violinist Martin Draušnik i violončelist Mihovil Karuza na čijem su programi bili skladatelji u fokusu 28.
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I am not sure that in Belgium, my homeland, there is a percussionist who plays marimba so wonderfully as your Kaja Farszky – said Daan Vandewalle, the guest at yesterday's Artist Talk. The Belgian pianist, who concluded Thursday with his excellent midnight recital, was thrilled with the overall performance of the festival soloists. Along with Kaja Farszky, these were the violinist Martin Draušnik and the cellist Mihovil Karuza, whose program consisted of the composers who were the main focus of the 28th MBZ – George Benjamin, Bruno Mantovani, Kaija Saariaho and Michel van der Aa. The idea of honoring and meeting the five famous European composers, including also Thomas Adès, is an exceptional benefit for the Croatian music community because of local artists who were engaged for performances of their works. All of them, including the Croatian String Quartet and the guests at their concert at the HGZ, have worked very hard and have shown the mastery of contemporary scores. In doing so, they have once again confirmed the importance of the Biennale tradition of Zagreb. The concert of the Croatian Radio and Television Symphony Orchestra conducted by Maestro Johannes Kalitzke will certainly be remembered as one of the largest feats at the 28th MBZ. The orchestra performed a large and highly demanding score of each of these five composers. The Croatian soloists, along with the orchestra, were brilliant. In addition to his virtuosity, the clarinetist Davorin Broziæ also demonstrated an unprecedented fitness at the concert for clarinet and orchestra by Kaija Saariaho, and the pianists Katarina Krpan and Danijel Detoni as well as the mezzo-soprano Martina Gojèeta Siliæ should also get medals for their performances. It is a great shame that the Croatian Radio and Television decided not to broadcast and record this – we could now even say anthological – concert of their greatest and most important ensemble.