The most important class, however, for me and for hundreds of other Hungarian musicians, was the chamber-music class. From about the age of fourteen, and until graduation from the Academy, all instrumentalists except the heavy-brass players and percussionists had to participate in this course. Presiding over it for many years was the composer Leó Weiner, who thus exercised an enormous influence on three generations of Hungarian musicians.

Sir Georg Solti

3 October 2019, 19.00-21.00

Solti Hall

On the trail of Serbian composers Presented by Liszt Academy

Péter Sztojánovits: Scherzo in F major for Piano Quintet
Péter Sztojánovits: Duo for Two Violins, Op. 116
Péter Sztojánovits: Sonata No. 2 for Cello and Piano, Op. 64
Péter Sztojánovits: Trio for Two Violins and Viola, Op. 114
Péter Sztojánovits: Piano Quintet ‘Jugoslavian Fantasia’ (transcription by Nataša Špaček )
Altro Senso Quintet: Tea Petrović-Balint, Igor Aleksić (violin), Jovan Stojanović (viola), Dušan Kočišević (cello), Nataša Špaček (piano)
Real Giana Brothers: „Final Doom Symphony”
MIRKO: „Tihomix” (excerpts from songs written by Tihamér Vujicsics)
MIRKO (pianist - composer - producer)
Kornelije Stanković: „Što se bore misli moje...” – Serbian song, variation
Student choi of Nikola Tesla High School 
Conductor: Olivera Munišić Mladenović


HUF 1 000