Parać Frano, F.C.A.
Parać Frano, F.C.A.
- fellow of the Croatian Academy of Sciences and Arts (05/29/2008 – …)
- Professor – Music Academy of Zagreb
Functions in Academy:
- deputy Chair – Statutes Committee (09/30/2015 – …)
- vice President – Croatian Academy of Sciences and Arts (2019. – …)
- member of the Presidency – Croatian Academy of Sciences and Arts (01/01/2019 – …)
- secretary – Department of Music and Musicology (01/01/2011 – 12/31/2018)
Membership in Academy:
- full member – Department of Music and Musicology (05/29/2008 – …)
- associate member – Department of Music and Musicology (12/03/1992 – 05/29/2008)
Frano Parać (Split, 11 May 1948), graduated in composition at the Music Academy of Zagreb in the class of Stanko Horvat, and continued his education under Marino Zuccheri in Milan at the Studio fonologia musicale della RAI. Since 1978 he has taught at the Music Academy of Zagreb, first as professor of theoretical courses, then of composition.
In 1992 he was appointed the position of full professor and he was elected dean on two occasions (1985 – 1987 and 2002 – 2006). Since as early as 1975 he has received numerous and most prominent professional awards as well as national medals.
In 1992 he was accepted as associate member of the Croatian Academy of Sciences and Arts, becoming its full member in 2008. In the aesthetic, composing-technical and other versatile brittleness of music from the last quarter of the 20th century the Croatian composer Frano Parać succeeded in finding his distinguished place owing to his infallible musical instinct, skilful notation technique and clearly expressed belief that “the artists must raise his voice, because the noise around him has become too great”. In his show of spite to it, Parać finds his pillar in the areas of musical history untouched by the crisis: in the rhythmical stability of Baroque, not in dramatics of its counterpoint, in the formal clarity of classicism, not in the loops of its thematic conflicts, in the emotional openness of the Romanticism, not in its tonality doubts. Discovering the certainty of these position, with each part of its opus, Parać anticipatorily abolishes the need for debates about “old” and the “new”, the “retrocedence” and the “advance”, and from a thus cleared, neutral terrain embarks upon an entirely personal musical journey. He does this with the Mediterranean sense of measurement – equally during effective gradations in the dramatic (ballet Carmina Krležiana, opera Judita), vocal-instrumental (Et e subito sera, Missa Maruliana,
Gloria), orchestral (Symphony, Sarabande) or concerto achievements, as well as passages of intimate sobriety in soloist and chamber scores, among which the highest number is dedicated
to strings and in the calm passages choir compositions accompaniment (Composition for two choirs a cappella, Collegium vocale, Dona nobis pacem). And he engages in it with a profound sense of continuity, both of his own opus and of the musical tradition to which he belongs.