Krešimir Baranović

Krešimir Baranović (25 July 1894 – 17 September 1975) was a Croatian composer and conductor. He was director and conductor of the Zagreb Opera, Belgrade Opera and professor at the Belgrade Music Academy. In the spirit of a kind of Slavic expressionism, also seen in the works of Janáček and some of the 19th century Russian masters, Baranović was better than any other Croatian composer of his time in overcoming the discrepancy between the national and the universal to be seen in Croatian interwar music.

Biography

From 1908 to 1912 Baranović was studying music in Zagreb. He took private lessons from Dragutin (Carlo) Kaiser and then in the school of the Croatian Music Institute where he studied horn with Fran Lhotka. After that, he went to the Music Academy in Vienna (1912–1914) and later that in Berlin (1921–1922). Member of Serbian Academy of Science and Arts since 1968.

Oeuvre

In the spirit of a kind of Slavic expressionism, also seen in the works of Janáček and some of the 19th century Russian masters, Baranović was better than any other Serbian composer of his time in overcoming the discrepancy between the national and the universal to be seen in Serbian and Croatian interwar music. In his valuable works the ballet Gingerbread Heart (1924), the song cycle From My Hills (to verses of Fran Galović, 1927) and in the comic opera Sheared-Mown (1932) he drew the authenticity of his idiom from the folk music of Hrvatsko zagorje, the foundation of an artistic transformation of Stravinskyan dimensions. A wonderful master of instrumentation, with a marked feeling for rhythmical structure and a special sense for humour, even of the coarsely grotesque (the ballet Imbrek with a Nose, 1935), Baranović sidestepped the restorer's gesture of neo-Classicism, widening the ranges of inherited expressiveness, particularly in terms of harmony. While Baranović's works after 1943 – the orchestral poems From Solitude (to his own words, 1944) and Clouds (verses of Dobriša Cesarić, 1963) more thoroughly set free dissonant harmonic sets, his larger vocal and instrumental works of the 1960s and 1970s do nevertheless pay a tribute to the simplifications enjoined by the aesthetics of what was called engaged realism.

As symphonic and particularly operatic conductor, Baranović much enriched reproductive practice. He was the first in Croatia to conduct a performance of Mussorgsky’s Boris Godunov in 1918 and Shostakovich’s Katerina Izmailova in 1937, and was the first to put the most important ballets of Stravinsky on the Zagreb stage, the first outside Czechoslovakia to put on Smetana’s Libuše. He paid a lot of attention to first performances of the most important music theatre works of Croatian composers.

Selected works

Stage works

Ballet Gingerbread Heart (1924) Flowers of Little Ida (1925) Chinese Story (1955)

Opera Bride of Cetingrad (1951), comic opera Sheared-Mown (1932), comic opera

Orchestra From Solitude (to his own words, 1944), orchestral poem Clouds (words by Dobriša Cesarić, 1963), orchestral poem Concert Overture (1916) Symphonic Scherzo (1921) Poème balkanique (1926) Sinfonietta in E flat major (1939) Concerto for Horn and Orchestra (1973)

Vocal and orchestral works From My Hills (to verses of Fran Galović, 1927) My City (words by Vinko Nikolić, 1941) Pan (words by Miroslav Krleža, 1957) Forests, Forests (1967) At Sea (words by Gustav Krklec, 1974)