Slavenski left an extensive opus behind which includes all the genres except opera and ballet. His most notable performances include orchestral works such as Balkanophonia (1927), Haos (1932), Sinfonia Orienta (1934), Four Balkan Games (1938), Symphony Epos (1941-1945), Songs of my Mother (1944), Slavic sonata (1924), From the village (1925), Sonata Religiosa (1925), as well as many other achievements for various instrumental and volleys.

Generally speaking, Slavenski’s creativity is distinguished primarily by his specific attitude towards the patterns of folklore. It is specific because Slavenski didn’t belong to the so-called composers of “the national school”, that represented the mainstream of the Yugoslav music back then. Regarding this, Slavenski’s work is considered as one of the foundations of modernism in Yugoslav music, no matter how much his style is different from the styles of the generation that will achieve the first avant-garde blows.

Slavenski never directly quoted folklore melodies. His source of inspiration adopted fundamental characteristics of tunes and rhythms of folklore. Actually, it was about exploring the basic principles on which folklore is based on and how the music of the “people that civilisation did not corrupt” function. It was far beyond the use of folklore in a romantic way. Besides that, it was a folklore of various Balkan nations, not just of one “nation”.

Slavenski tried to find new forms of sounds in what he was surrounded by his earliest youth, in the folk song, in the sound of church bells or in the starry sky he watched during the breaks of night work at his father’s bakery in Čakovec. This is where Slavenski’s eternal fascination for acoustics, astronomy and physics came form.

Generally speaking, Slavenski’s creativity is distinguished primarily by his specific attitude towards the patterns of folklore. It is specific because Slavenski didn’t belong to the so-called composers of “the national school”, that represented the mainstream of the Yugoslav music back then. Regarding this, Slavenski’s work is considered as one of the foundations of modernism in Yugoslav music, no matter how much his style is different from the styles of the generation that will achieve the first avant-garde blows.

Slavenski never directly quoted folklore melodies. His source of inspiration adopted fundamental characteristics of tunes and rhythms of folklore. Actually, it was about exploring the basic principles on which folklore is based on and how the music of the “people that civilisation did not corrupt” function. It was far beyond the use of folklore in a romantic way. Besides that, it was a folklore of various Balkan nations, not just of one “nation”.