Page 5 - 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. 5
ja Koter, SAMO VREMŠAK: ARTIST AND PEDAGOGUE
Darja Koter
Academy of Music, University of Ljubljana
SAMO VREMŠAK: ARTIST AND PEDAGOGUE
Abstract: The article presents the latest research on the life and work of Samo Vremšak, a
multifaceted musician, organist, choir conductor and teacher. It supplements the existing, mostly
brief publications on Vremšak’s life and professional activities, and is based on his privately owned
personal archive. In addition, the existing studies of individual segments of the composer’s oeuvre,
as well as the list of his works from the family archive, were also considered in this research. The
emphasis is laid upon Vremšak’s artistic path as a conductor of the “Lira” society male choir in
Kamnik, his career as a concert singer, and synthesis of his compositional oeuvre - especially his
choirs, solo-songs, works for organs and vocal-instrumental compositions of a cantata character.
Keywords: education, performing, creativity, pedagogic work, Lira in Kamnik, baritone singer,
composer, pedagogue.
Samo Vremšak was born on May 29, 1930 into a family of musicians living at Maistrova
ulica 8 in a historic bourgeois house that remains the property of the Vremšak family to
this day.1 He was the son of the violinist, organist, singer, choir conductor and composer
Ciril Vremšak (1900–1968), and Angela Vremšak, née Toni. Ciril acquired his musical
education, among other places, at The Ljubljana Glasbena matica music school (musical
association of professional musicians, connoisseurs and music-lovers). He worked as a
bank clerk and was also conductor of the “Lira” male choir for many years (he conducted
the choir from 1920 to 1962). He was a self-educated choir conductor who followed the
lead of the renowned musicians Emil Adamiè and Zorko Prelovec. In his compositions for
male choirs, his vocal sentence is largely imbued with Slovenian music tradition and
original melodies; his works thus remain frequently performed to this day.2 His father’s
sister, Armeli (Eli), a teacher and a talented pianist, also played a part in Samo’s
introduction to the world of music. He once stated that, initially, he was not particularly
interested in playing the piano and that in this regard he simply complied with his parents’
wishes; later, however, he was grateful to them. He was of the opinion that his aunt Eli was
a good teacher and a solid pianist.3 Nevertheless, the most important stimulus in Samo’s
music education was his father Ciril, who introduced him to choral music, singing, organ
playing and composing. An excellent tenor, educated by Matej Hubad, his father sang in a
local church choir during World War II. At that time Slovenian cultural activities in
1 The author acknowledges the financial support from the state budget by the Slovenian Research Agency
(project No. P6-0376)
2 Accessible at www.slovenska-biografija.si/oseba/sbi821223/, visited April 4, 2014.
3 Some biographical notes have been published on the life and work of Samo Vremšak (cp.
www.slovenska-biografija.si/oseba/sbi821356/, last visited Dec. 12, 2014 and www.leksikon.si/Oseba/
OsebaId/46, last visited Dec. 12, 2014) as well as several short notes written on the composer’s
anniversaries and jubilees. The above mentioned notes came into being through interviews with the
composer and his personal memories. Vremšak’s legacy, which is kept in the family house in Kamnik and
represents a fundamental source of the present study, has not been researched. This legacy has also not
been arranged thematically (for this reason hereinafter the individual folders, with some exceptions, are
not cited); nevertheless, it is an invaluable resource that will enable the review of existing publications. I
would like to thank Vladka and Boris Vremšak most sincerely for their cooperation and assistance in
preparing the articles in the present monograph, as well as for the possibility of examining Samo
Vremšak’s personal archive.
5
Darja Koter
Academy of Music, University of Ljubljana
SAMO VREMŠAK: ARTIST AND PEDAGOGUE
Abstract: The article presents the latest research on the life and work of Samo Vremšak, a
multifaceted musician, organist, choir conductor and teacher. It supplements the existing, mostly
brief publications on Vremšak’s life and professional activities, and is based on his privately owned
personal archive. In addition, the existing studies of individual segments of the composer’s oeuvre,
as well as the list of his works from the family archive, were also considered in this research. The
emphasis is laid upon Vremšak’s artistic path as a conductor of the “Lira” society male choir in
Kamnik, his career as a concert singer, and synthesis of his compositional oeuvre - especially his
choirs, solo-songs, works for organs and vocal-instrumental compositions of a cantata character.
Keywords: education, performing, creativity, pedagogic work, Lira in Kamnik, baritone singer,
composer, pedagogue.
Samo Vremšak was born on May 29, 1930 into a family of musicians living at Maistrova
ulica 8 in a historic bourgeois house that remains the property of the Vremšak family to
this day.1 He was the son of the violinist, organist, singer, choir conductor and composer
Ciril Vremšak (1900–1968), and Angela Vremšak, née Toni. Ciril acquired his musical
education, among other places, at The Ljubljana Glasbena matica music school (musical
association of professional musicians, connoisseurs and music-lovers). He worked as a
bank clerk and was also conductor of the “Lira” male choir for many years (he conducted
the choir from 1920 to 1962). He was a self-educated choir conductor who followed the
lead of the renowned musicians Emil Adamiè and Zorko Prelovec. In his compositions for
male choirs, his vocal sentence is largely imbued with Slovenian music tradition and
original melodies; his works thus remain frequently performed to this day.2 His father’s
sister, Armeli (Eli), a teacher and a talented pianist, also played a part in Samo’s
introduction to the world of music. He once stated that, initially, he was not particularly
interested in playing the piano and that in this regard he simply complied with his parents’
wishes; later, however, he was grateful to them. He was of the opinion that his aunt Eli was
a good teacher and a solid pianist.3 Nevertheless, the most important stimulus in Samo’s
music education was his father Ciril, who introduced him to choral music, singing, organ
playing and composing. An excellent tenor, educated by Matej Hubad, his father sang in a
local church choir during World War II. At that time Slovenian cultural activities in
1 The author acknowledges the financial support from the state budget by the Slovenian Research Agency
(project No. P6-0376)
2 Accessible at www.slovenska-biografija.si/oseba/sbi821223/, visited April 4, 2014.
3 Some biographical notes have been published on the life and work of Samo Vremšak (cp.
www.slovenska-biografija.si/oseba/sbi821356/, last visited Dec. 12, 2014 and www.leksikon.si/Oseba/
OsebaId/46, last visited Dec. 12, 2014) as well as several short notes written on the composer’s
anniversaries and jubilees. The above mentioned notes came into being through interviews with the
composer and his personal memories. Vremšak’s legacy, which is kept in the family house in Kamnik and
represents a fundamental source of the present study, has not been researched. This legacy has also not
been arranged thematically (for this reason hereinafter the individual folders, with some exceptions, are
not cited); nevertheless, it is an invaluable resource that will enable the review of existing publications. I
would like to thank Vladka and Boris Vremšak most sincerely for their cooperation and assistance in
preparing the articles in the present monograph, as well as for the possibility of examining Samo
Vremšak’s personal archive.
5
