Piccolo
Baroque
Classical
Romantic
20th century
21st century
Solo repertoire
Piccolo
Alto flute
Bass flute
Krek Uroš
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
Piccolo Concertino
Piccolo Concertino
Uroš Krek: Piccolo Concertino was written in 1967. The work fits into Krek’s signature neo-classical idiom, which often incorporates elements of folk music—particularly Romanian folk-song influences in this specific piece.
In contrast to the piccolo's typically "chirpy" nature, Krek writes "thoughtful conversations" and eerie, meandering melodies, utilizing the instrument as a true solo voice rather than just an orchestral support.
At the time of composition (1967), Krek was transitioning from research at the Ljubljana Ethnomusicological Institute to a professorship at the Ljubljana Academy of Music.
Salvatore Percacciolo (conductor), Mannheim National Theatre Orchestra, 2023, Naxos
1. Moderato
Salvatore Percacciolo (conductor), Mannheim National Theatre Orchestra, 2023, Naxos
2. Presto
Krek Uroš
Uroš Krek (1922–2008) was one of Slovenia’s most significant and respected composers of the 20th century.
Born in Ljubljana, Slovenia, he studied composition with Lucijan Marija Škerjanc at the Ljubljana Academy of Music.
Krek spent many years at Radio Ljubljana (now RTV Slovenia), serving as an editor of symphonic broadcasts and later as the chief music editor (1950–1958).
From 1958 to 1967, he worked as a researcher at the Institute of Ethnomusicology in Ljubljana. This period profoundly influenced his style, as he integrated Slovenian and Croatian folk modalities into his classical forms.
He returned to his alma mater as a professor of composition and music theory, teaching from 1967 until 1982.
He was a member of both the Slovenian and Croatian Academies of Sciences and Arts and served as president of the Society of Slovenian Composers.
His style is primarily neo-classical, marked by clarity of form and "cosmopolitan" outlook, yet deeply rooted in folk motifs. Scholars divide his output into four evolving phases: early neo-classicism, folk-influenced idiom, a period of melodic cell focus, and a final synthesis of these techniques.
Among his most notable Works: Sinfonietta (1951), Violin Concerto (1949), Concerto for Horn and String Orchestra (1960), and Inventiones ferales for violin and orchestra (1962).