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Piccolo

Baroque

Classical

Romantic

20th century

21st century

Solo repertoire

Piccolo

Alto flute

Bass flute

Janáček Leoš

Adler, Samuel

Andersen, Joachim

Auric, Georges

Baksa, Andreas

Beaser, Robert

Benshoof, Ken

Boisson, Felix

Bonnisseau, Frédéric

Chamberlain, Nicole

Damase, Jean-Michel

Daugherty, Michael

Dehnhard, Tilmann

Donatoni, Franco

Dorff, Daniel

Harberg, Amanda

Huylebroeck, Jan

Jacob, Gordon

Janáček, Leoš

Koechlin, Charles

Krek, Uroš

Lavista, Mario

Liebermann, Lowell

Loeb, David

Mălăncioiu, Gabriel

Martinů, Bohuslav

Meltzer, Harold

Morlacchi, Pietro

Mower, Mike

Musgrave, Thea

Papandopulo, Boris

Persichetti, Vincent

Poulenc, Francis

Reichert, Matthieu Andre

Rotaru, Doina

Schocker, Gary

Silva, Pattápio

Smith, Matt

Vivaldi, Antonio

Wilder, Alec

Yun, Isang

Pochod Modracku

Pochod Modracku

By Janáček Leoš

Leoš Janáček: Pochod Modracku for piccolo and piano was written in 1924.
Originally, "Pochod Modráčků" (March of the Bluebirds, sometimes translated as "March of the Blue Boys) was composed for military band, specifically for a large wind ensemble featuring piccolos, as a salute or march. The work was likely intended as a "greeting to the Czechoslovak Army." The piece premiered on October 2, 1924.
The title and inspiration for the piece came from the sound of military bands and piccolos. As a child during the Austro-Prussian War in 1866, Janáček heard Prussian troops marching through the streets of Brno. He recalled the "predatory sound of little drums and piccolos," an image that stayed with him and inspired this late-life composition. The original title in German was likely Siegesallee (Avenue of Victory).
The work was likely intended as a "greeting to the Czechoslovak Army." The piece premiered on October 2, 1924.
Interpretations of the title "Pochod Modráčků" ("March of the Blue Boys") for Leoš Janáček's military march vary. One common explanation is that "Modráčků" refers to the blue-uniformed soldiers of the newly independent Czechoslovak Army, which aligns with the work's commission and purpose. Another interpretation suggests the title refers to choir boys in blue robes at the monastery where Janáček received his early education, reflecting the composer's connections to his childhood.
The version for piccolo/flute and piano is an arrangement made much later, primarily for pedagogical and recital use.

Sarah Rumer

Ulrich Koella (piano), 2023, Prospero Classical / Orchard

Pochod Modracku

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Jean-Louis Beaumadier

Jordi Torrent (piano), 2013, Skarbo / Naxos

March of the Bluebirds

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Laurence Trott

Marcella Branagan (piano), 2011, Fleur de Son / Naxos

March of the Bluebirds

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Janáček Leoš

Leoš Janáček (1854–1928) was a major Czech composer, music theorist, folklorist, and teacher. He is regarded as one of the most original and nationally important composers of the 20th century, known for his unique musical language rooted deeply in Moravian folk music.
Born in Hukvaldy, Moravia (part of the Austrian Empire at the time), Janáček’s musical education began at the Augustinian monastery in Brno. He studied organ and composition in Prague, Vienna, and Leipzig. Initially a teacher and choirmaster, he founded the Brno Organ School in 1881 and remained its director for nearly 40 years.
For much of his life, Janáček worked in relative obscurity outside of Moravia. His first major critical success came with the premiere of his opera Jenůfa in Prague in 1916 (originally composed much earlier, in 1904). The opera's success brought him international fame late in life and unleashed a remarkable burst of creativity in his final decade. Among his most notable compositions: opera Jenůfa, "Sinfonietta" for orchestra, choral work "Glagolitic Mass", and string quartet.
Janáček's style is intensely personal and instantly recognizable. He developed a revolutionary approach to rhythm and melody based on spevohrádky, the "speech melodies" or natural cadences of the Moravian dialect, incorporating these vocal rhythms into his instrumental and operatic scores. His music is often characterized by short, repeated motifs, stark contrasts, and a raw, sometimes fragmented emotional intensity that avoided traditional Romantic lushness.