SUMMARY
The two rhapsodies for violin and piano occupy an important position among Marijan Lipovšek's chamber works. The first of the two was composed in 1955, the second in 1962. As regards the form Lipovšek follows Bartok's rhapsodic examples, however, expanding the binary form into tripartite realizations. The basic motivic material is drawn from folk songs. In spite of the metrically and melodically complicated structure Lipovšek is consistent in his ways of transforming. Nevertheless, the essence of the folk tunes remains unchanged. Both rhapsodies represent a valuable contribution to Slovene chamber music.