Page 14 - 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. 14
O VREMŠAK (1930–2004)
regard are Sonata quasi una fantasia (1968), the expressionistically designed Triptihon
(1971), Tema con variazioni (1976) which he considered one of his most cogent
compositions, Koncert za orgle in godala (1983), performed as a world-premiere in the
Red Series of the season 1985/86,37 and Koncert za orgle in orkester (1991). The last two
of the above-mentioned compositions most probably came into being thanks to Hubert
Bergant; at the time of their writing, an astounding concert organ in Cankarjev dom
(Slovenia’s largest cultural and congress centre) stimulated the creation of great organ
pieces. The most prominent among Vremšak’s sacred vocal compositions for organ and
mixed choir are masses and psalms, as well as pieces such as Missa latina per coro e soli a
cappella (1993), and one of the last in this oeuvre Christus factus est.38 Vremšak was a
master of cantata and oratorio for smaller and larger ensembles;39 in these two musical
forms he reached a singular peak of compositional creativity. In the works of a
predominantly spiritual character, there are also carefully selected texts originating from
diverse cultural environments, and of various contents and forms. The following are
especially worth of attention: Šest pesmi Horaca for mixed choir, woodwind quintet and
timpani (1986), Voznica for male choir, mezzo-soprano and chamber orchestra (1973), the
composition alosten je velki kejden for mixed choir, soloists and orchestra, based upon
the text of Slovenian folk prayers, Canticum cantucorum Salomonis for mixed choir and
brass quintet, Exercitus grandis nimis valde or A Mighty Army for soloists, choir and
orchestra, dedicated to the victims of post-war massacres, which earned resounding
ovations at its world-premiere in 1995 at Cankarjev dom.40 Vremšak’s Requiem (1995)
was especially admired by professional and lay public. Its world-premiere was conducted
by Mirko Cuderman and held in the church of St. Jakob in Ljubljana within the Vocal
Series of the Slovenian Philharmonic in the 2000/2001 season, with joint choirs,
Philharmonic orchestra and soloists: Irena Baar, Mirjam Kalin, Marjan Trèek and Janko
Volèanski.41 Vremšak defined this composition as his “Creative Credo”.42
Among his more extensive orchestral works, Vremšak himself accentuated his second
(1973) and third symphony (1989); the first he completed soon after graduation from the
Academy in 1958, Sonatina za godala (Sonatina for Strings, 1966), Adagio for grand
orchestra (1987) and Simfonietta in modo classico in due tempi (1988).43 There were quite
long intervals between the formations of the symphonies, hence the diversity of styles.
Basically, they are ranked among the fundamental symphonic works of Slovenian
creativity in the second half of the 20th century. Since the first symphony marked
Vremšak’s debut in the sphere of symphonic music, its style is Neo-Romantic. The second
one was described as harmonically bold and dramatic and was dedicated to Vremšak’s late
father. Formally, the symphonies are associated with a classic form of symphonic
character, with contrapunct and modality at the forefront, while the tonality freely expands
37 Cp. Slovenian Philharmonic, Koncertni listi (printed concert programmes).
38 Cp. E. Škulj, Leksikon cerkvenih glasbenikov, Ljubljana: Dru ina, 2005, p. 388; for a more complete list
of such compositions compare the list of score material which is in possession of the family.
39 Cp. list of compositions, wherein 12 pieces are enlisted in the column entitled Vocal-instrumental
Compositions.
40 The piece Exercitus grandis nimis valde met with resounding reception of the public. Cp. L. Engelman,
op. cit., p. 31.
41 Cp. Slovenian Philharmonic, Koncertni listi (printed concert programmes).
42 M. Gaèeša, op.cit., p. 3
43 See the transcription of discussion between Marjeta Gaèeša and Samo Vremšak at his 70th birthday,
published in Naši zbori. Cp. M. Gaèeša, op. cit., pp. 2–4.
14
regard are Sonata quasi una fantasia (1968), the expressionistically designed Triptihon
(1971), Tema con variazioni (1976) which he considered one of his most cogent
compositions, Koncert za orgle in godala (1983), performed as a world-premiere in the
Red Series of the season 1985/86,37 and Koncert za orgle in orkester (1991). The last two
of the above-mentioned compositions most probably came into being thanks to Hubert
Bergant; at the time of their writing, an astounding concert organ in Cankarjev dom
(Slovenia’s largest cultural and congress centre) stimulated the creation of great organ
pieces. The most prominent among Vremšak’s sacred vocal compositions for organ and
mixed choir are masses and psalms, as well as pieces such as Missa latina per coro e soli a
cappella (1993), and one of the last in this oeuvre Christus factus est.38 Vremšak was a
master of cantata and oratorio for smaller and larger ensembles;39 in these two musical
forms he reached a singular peak of compositional creativity. In the works of a
predominantly spiritual character, there are also carefully selected texts originating from
diverse cultural environments, and of various contents and forms. The following are
especially worth of attention: Šest pesmi Horaca for mixed choir, woodwind quintet and
timpani (1986), Voznica for male choir, mezzo-soprano and chamber orchestra (1973), the
composition alosten je velki kejden for mixed choir, soloists and orchestra, based upon
the text of Slovenian folk prayers, Canticum cantucorum Salomonis for mixed choir and
brass quintet, Exercitus grandis nimis valde or A Mighty Army for soloists, choir and
orchestra, dedicated to the victims of post-war massacres, which earned resounding
ovations at its world-premiere in 1995 at Cankarjev dom.40 Vremšak’s Requiem (1995)
was especially admired by professional and lay public. Its world-premiere was conducted
by Mirko Cuderman and held in the church of St. Jakob in Ljubljana within the Vocal
Series of the Slovenian Philharmonic in the 2000/2001 season, with joint choirs,
Philharmonic orchestra and soloists: Irena Baar, Mirjam Kalin, Marjan Trèek and Janko
Volèanski.41 Vremšak defined this composition as his “Creative Credo”.42
Among his more extensive orchestral works, Vremšak himself accentuated his second
(1973) and third symphony (1989); the first he completed soon after graduation from the
Academy in 1958, Sonatina za godala (Sonatina for Strings, 1966), Adagio for grand
orchestra (1987) and Simfonietta in modo classico in due tempi (1988).43 There were quite
long intervals between the formations of the symphonies, hence the diversity of styles.
Basically, they are ranked among the fundamental symphonic works of Slovenian
creativity in the second half of the 20th century. Since the first symphony marked
Vremšak’s debut in the sphere of symphonic music, its style is Neo-Romantic. The second
one was described as harmonically bold and dramatic and was dedicated to Vremšak’s late
father. Formally, the symphonies are associated with a classic form of symphonic
character, with contrapunct and modality at the forefront, while the tonality freely expands
37 Cp. Slovenian Philharmonic, Koncertni listi (printed concert programmes).
38 Cp. E. Škulj, Leksikon cerkvenih glasbenikov, Ljubljana: Dru ina, 2005, p. 388; for a more complete list
of such compositions compare the list of score material which is in possession of the family.
39 Cp. list of compositions, wherein 12 pieces are enlisted in the column entitled Vocal-instrumental
Compositions.
40 The piece Exercitus grandis nimis valde met with resounding reception of the public. Cp. L. Engelman,
op. cit., p. 31.
41 Cp. Slovenian Philharmonic, Koncertni listi (printed concert programmes).
42 M. Gaèeša, op.cit., p. 3
43 See the transcription of discussion between Marjeta Gaèeša and Samo Vremšak at his 70th birthday,
published in Naši zbori. Cp. M. Gaèeša, op. cit., pp. 2–4.
14
