Page 136 - Glasbenopedagoški zbornik Akademije za glasbo v Ljubljani / The Journal of Music Education of the Academy of Music in Ljubljana, leto 10, zvezek 21 / Year 10, Issue 21, 2014
P. 136
O VREMŠAK (1930–2004)
THE ORGAN OPUS OF SAMO VREMŠAK
Summary
Samo Vremšak, a composer from Kamnik, came across the organ in his teenage years, as
he regularly played the organ at masses in the local parish church during the Second World
War. The sound of the organ completely overwhelmed him, and he wrote his first
compositions for it in his youth. He was later encouraged to continue composing for the
organ by his friend, Hubert Bergant, the renowned Slovenian organ player, who gave
concerts performing Vremšak’s entire organ opus. This opus was not only extensive but
made an invaluable contribution to the Slovenian organ legacy. Vremšak’s works include
a great number of fugues, all of them in the key minor. His Sonata quasi una fantasia,
Triptihon, and Tema con variazioni should be ranked among his more important works -
all three of these compositions and the previously mentioned fugues were published in
editions of the Slovenian Composers’ Society. Chorale variations played an important part
in his concerts, especially Magnificat and Ave Maris Stella, edited by Astrum publishers.
The composer himself defined his own style of composing as a mixture of neo-classicism
and neo-romanticism. His enthusiasm and admiration of Bach’s organ music is clearly
reflected in his works. The compositions are imbued with masterful counterpoint, while
following Baroque organ practice in form. Despite the Baroque flavour of his work and
his adherence to strict contrapuntal rules, the composer managed to express a modern
fresh-sounding musical language, demonstrating his aptitude for rich creative invention.
136
THE ORGAN OPUS OF SAMO VREMŠAK
Summary
Samo Vremšak, a composer from Kamnik, came across the organ in his teenage years, as
he regularly played the organ at masses in the local parish church during the Second World
War. The sound of the organ completely overwhelmed him, and he wrote his first
compositions for it in his youth. He was later encouraged to continue composing for the
organ by his friend, Hubert Bergant, the renowned Slovenian organ player, who gave
concerts performing Vremšak’s entire organ opus. This opus was not only extensive but
made an invaluable contribution to the Slovenian organ legacy. Vremšak’s works include
a great number of fugues, all of them in the key minor. His Sonata quasi una fantasia,
Triptihon, and Tema con variazioni should be ranked among his more important works -
all three of these compositions and the previously mentioned fugues were published in
editions of the Slovenian Composers’ Society. Chorale variations played an important part
in his concerts, especially Magnificat and Ave Maris Stella, edited by Astrum publishers.
The composer himself defined his own style of composing as a mixture of neo-classicism
and neo-romanticism. His enthusiasm and admiration of Bach’s organ music is clearly
reflected in his works. The compositions are imbued with masterful counterpoint, while
following Baroque organ practice in form. Despite the Baroque flavour of his work and
his adherence to strict contrapuntal rules, the composer managed to express a modern
fresh-sounding musical language, demonstrating his aptitude for rich creative invention.
136
