Antonio Janigro deserves great words, he deserves even he paraphrase of Kennedy`s famous words of Churchill: „ Never was so much owed by so many to one man.“ And truly, Croatian people owe a great deal to this Italian musician. He came to Zagreb at very beginning of the World War II. He brought his 21 years of age and two degrees: on from the Milan Conservatory, and one from Casals and Alexanian`s École Normale de Musique in Paris, but he also came with several concert cruises around the world behind him. He needed a peaceful, neutral harbour from which he could set off as soon as the world in war renewed its interests in music. As it usually happens, temporary solutions turn out to be the long lasting ones: Janigro stayed in Zagreb for 30 years. The remaining 20 years he spent in the music centers of Europe (Salzburg, Stuttgart, etc)… In Zagreb, Janigro had no rivals, only partners in making music, and above all in learning. He did not find it underneath him to take lessons with professor Huml, because he felt that the methods used by the founder of Zagreb`s school of cello could improve his own technique of handling the bow. Since Zagreb could not boast with a prominent cellist prior to his arrival, he taught the beginner students, but also decided to become a beginner student himself- a student of conducting. If there is anything worth the Apollonian-Dionysian dichotomy, and if we agree that Rostropovich, for example, belongs to the Dionysian type (because of the extreme dramatics of his musical interpretations, passionate engagment in social events, Faustian anxieties in spiritual actuality), then Janigro is the archetype of Apollonian. To those who heard him play live, only one of his records will suffice to realize it. But Janigro belonged to the Apollonian tribe as a citizen as well, and as an intellectual, a pedagogue, a European, and a business man; he was characterized by clarity, sobriety, clear mindedness, lucidity. Few people in the post-war Europe were able to foresee with such precision what was going to happen to the trends of music and to the concert market: that the baroque masters would become fashionable and the innumerable small, but