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What makes this year’s award winner unique, is that its adventurous ethos isn’t contained within its programming approach alone. It is present in every aspect of its work.
In fact, few music organisations embody musical innovation quite like Budapest Music Centre (BMC). It doesn’t just demonstrate excellence in its programming, but in its holistic reimagining of what a contemporary music institution can be.
Housed in a renovated 19th-century building with a modern aesthetic inside, BMC brings together a concert hall, Opus jazz club, archive, rehearsal rooms, recording studios, and artist residency spaces.
"It’s a house for music and one man’s dream - and it’s amazing because now we can see the concept that was in his head,” explains Zsolti Hernádi, BMC's Head of Programming. “The main charm of the whole building and the company is that everything is right here. Everything in the building is connected to the studio so we can make simultaneous recordings of a symphonic orchestra, a jazz trio, and a solo piano."
This interconnectivity creates a ecosystem where artistic creation, recordings, documentation, and performance exist in dialogue with each other.
This autonomy, while presenting challenging income targets (which they generate through holding over 150 private parties and events each year), allows BMC to maintain artistic integrity and pursue innovative programming free from external constraints. “When the money comes in, we can put it into music and culture.”
"Most of the time we make decisions collectively," says Zsolti. "I go to nine or ten festivals a year, Tamás from the record label is going to a similar number, plus my colleagues from the production team are going to see lots of bands... if you put it together, it's a very big roster.”
The BMC team are all in one big office which leads to a programming synergy. It also means they can schedule gigs for artists who are at BMC to record and vice versa.
Underpinning the programming is a taste for the avant-garde, in both jazz and contemporary music. Zsolti explains: “László has an adoration for ECM Records, its music and its aesthetic. And although he doesn’t curate the programme, perhaps subconsciously he’s always picked people to work with that feel the same… who are part of this whole wider family.”
Most of the team's programming ideas come from festivals and showcases they attend. But they also work through around 100 ‘cold call’ approaches a day from artists and bands wanting to perform at BMC, keen to give opportunities to new talent.
"They can live here and breathe with the building," Zsolti explains. "They can use the musical library for sheets or scores... they can borrow instruments and technical equipment."
On a practical level, this also saves lots of time - there’s no travel between hotels and venues and recording studios. This means there is more space for music-making and for ideas and collaborations to develop. And it generates authentic and deep links between artists and BMC.
“They just love to be here with us. It's a totally different experience from just going to a club and playing there. They stay here rather than going back to a hotel. I can open another bottle of wine for them. We can listen to music, or we can go to the concert hall and play the piano at 2am. It's a different experience than anywhere else in the world, because they feel like they are more than the musician for tonight. We love them, whether they're here for one day or a week. We treat them as family. And they feel this as well.”
This is highly valued by artists. And one result of this is that bands that BMC support early on in their careers want to come back and play once they’re much better-known (and are willing to work within the club’s smaller budgets).
Through strategic partnerships with cultural institutes based in Hungary and across Europe, BMC have created a network of artistic exchange. And these collaborations have resulted in regular programming with partners from the Netherlands, Poland, Austria, and Finland, among others. “We're trying to show the Hungarian audience that jazz from our European neighbours is really different and more interesting than they might expect.”
Zsolti lingers behind at the end of concerts to hear feedback first hand. “We don’t always get it right, for example musicians might be pushing a particular project. Our audience will let us know when something hasn’t worked. And most of the time we have wonderful musicians who love to be here and participate in this whole experience.”
However, he emphasises, “It's always helpful to have a versatile team with versatile taste.”
He continues, “And small things can make such a difference. For example, bespoke software that everyone uses in your organisation, so you can save time and focus on the artistic side of things. And of course, try to maintain and create relationships with the musicians, beyond being their host for a few hours.”
And BMC’s commitment to both Hungarian artists and new artists remains steadfast, demonstrated by their willingness to programme unknown talents alongside established performers. As Zsolti notes, "The director's main goal is that we have to give everyone at least one chance. It’s kind of a cultural mission to do this."
Image credits:
BHP: Bálint Hrotkó / BMC
PJ: János Posztós / BMC
AND: Andrea Felvégi / BMC
EJN Award for Adventurous Programming 2024: The house that music built
The house that music built
At the 10th Europe Jazz Conference in September, EJN presented Budapest Music Centre with the 2024 EJN Adventurous Programming Award.
What makes this year’s award winner unique, is that its adventurous ethos isn’t contained within its programming approach alone. It is present in every aspect of its work.
In fact, few music organisations embody musical innovation quite like Budapest Music Centre (BMC). It doesn’t just demonstrate excellence in its programming, but in its holistic reimagining of what a contemporary music institution can be.
An integrated vision
It all started with the vision of László Gőz, with the intention of bringing Hungarian music to international attention. In 1996, Gőz, a musician and professor, set up the BMC Hungarian Music Information Centre, a free database of Hungarian music and artists. BMC Records followed soon after. By 2013, this vision had evolved into something even more ambitious: a physical space where all aspects of music could co-exist.Housed in a renovated 19th-century building with a modern aesthetic inside, BMC brings together a concert hall, Opus jazz club, archive, rehearsal rooms, recording studios, and artist residency spaces.
"It’s a house for music and one man’s dream - and it’s amazing because now we can see the concept that was in his head,” explains Zsolti Hernádi, BMC's Head of Programming. “The main charm of the whole building and the company is that everything is right here. Everything in the building is connected to the studio so we can make simultaneous recordings of a symphonic orchestra, a jazz trio, and a solo piano."
This interconnectivity creates a ecosystem where artistic creation, recordings, documentation, and performance exist in dialogue with each other.
Independence as strength
Unlike many European cultural institutions, BMC is a private enterprise. "The main thing is that this is a private company and no one can tell us exactly how to do things," Zsolti emphasises.This autonomy, while presenting challenging income targets (which they generate through holding over 150 private parties and events each year), allows BMC to maintain artistic integrity and pursue innovative programming free from external constraints. “When the money comes in, we can put it into music and culture.”
A collective approach
BMC's programming eschews the traditional artistic director-led model in favour of a more collaborative approach. Rather than centralising programming decisions, BMC draws on the collective expertise and experiences of all its team."Most of the time we make decisions collectively," says Zsolti. "I go to nine or ten festivals a year, Tamás from the record label is going to a similar number, plus my colleagues from the production team are going to see lots of bands... if you put it together, it's a very big roster.”
The BMC team are all in one big office which leads to a programming synergy. It also means they can schedule gigs for artists who are at BMC to record and vice versa.
Underpinning the programming is a taste for the avant-garde, in both jazz and contemporary music. Zsolti explains: “László has an adoration for ECM Records, its music and its aesthetic. And although he doesn’t curate the programme, perhaps subconsciously he’s always picked people to work with that feel the same… who are part of this whole wider family.”
Most of the team's programming ideas come from festivals and showcases they attend. But they also work through around 100 ‘cold call’ approaches a day from artists and bands wanting to perform at BMC, keen to give opportunities to new talent.
A home from home
The Centre's relationship with artists extends beyond the traditional venue-performer dynamics. With twelve guest rooms, BMC has created an environment where musicians can immerse themselves in their creative process."They can live here and breathe with the building," Zsolti explains. "They can use the musical library for sheets or scores... they can borrow instruments and technical equipment."
On a practical level, this also saves lots of time - there’s no travel between hotels and venues and recording studios. This means there is more space for music-making and for ideas and collaborations to develop. And it generates authentic and deep links between artists and BMC.
“They just love to be here with us. It's a totally different experience from just going to a club and playing there. They stay here rather than going back to a hotel. I can open another bottle of wine for them. We can listen to music, or we can go to the concert hall and play the piano at 2am. It's a different experience than anywhere else in the world, because they feel like they are more than the musician for tonight. We love them, whether they're here for one day or a week. We treat them as family. And they feel this as well.”
This is highly valued by artists. And one result of this is that bands that BMC support early on in their careers want to come back and play once they’re much better-known (and are willing to work within the club’s smaller budgets).
Cultural bridge-building
Programming around 220 concerts each year, BMC maintains a balance between promoting Hungarian artists and providing a platform for international artists too.Through strategic partnerships with cultural institutes based in Hungary and across Europe, BMC have created a network of artistic exchange. And these collaborations have resulted in regular programming with partners from the Netherlands, Poland, Austria, and Finland, among others. “We're trying to show the Hungarian audience that jazz from our European neighbours is really different and more interesting than they might expect.”
Growing together with audiences
BMC has also had success in cultivating an audience that embraces its adventurous programming. "We’ve grown our own audience for the club over the last ten years. Our programmes are in a great synchronicity with our audience," Zsolti reflects. “They trust us to bring them something special. And to introduce them to new and more experimental music.”Zsolti lingers behind at the end of concerts to hear feedback first hand. “We don’t always get it right, for example musicians might be pushing a particular project. Our audience will let us know when something hasn’t worked. And most of the time we have wonderful musicians who love to be here and participate in this whole experience.”
Insights for programmers
When asked to share advice for other programmers, Zsolti acknowledges the challenge of doing so, given the specificity of the BMC model and the unique set-up it offers.However, he emphasises, “It's always helpful to have a versatile team with versatile taste.”
He continues, “And small things can make such a difference. For example, bespoke software that everyone uses in your organisation, so you can save time and focus on the artistic side of things. And of course, try to maintain and create relationships with the musicians, beyond being their host for a few hours.”
Future horizons
Looking ahead, BMC wants to expand its cultural partnerships. Next year, it’s introducing a new two-day festival featuring artists from Denmark, for example. And Zsolti wants to develop more links with the Baltic countries.And BMC’s commitment to both Hungarian artists and new artists remains steadfast, demonstrated by their willingness to programme unknown talents alongside established performers. As Zsolti notes, "The director's main goal is that we have to give everyone at least one chance. It’s kind of a cultural mission to do this."
Image credits:
BHP: Bálint Hrotkó / BMC
PJ: János Posztós / BMC
AND: Andrea Felvégi / BMC
