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

Jazz Piano admisson requirements for non-degree studies

Classical Music:

2 pieces chosen from the partitas and suites from ‘Wohltemperies Klavier' by J. S. Bach.

1 movement of a Viennese classical sonata

1 romantic style piano piece (preferably Chopin or Liszt).


3 pieces by Bartók: To be chosen from the 5th or 6th volume of Mikrokosmos or other 20th century (or contemporary) piano piece of the same level of difficulty



The solo performance of 3 contrasting, well known jazz standards of different tempi (slow, medium and fast) and character (introduction, theme, improvisation, theme, ending), alternatively with own harmonization.

The demonstration of the previously performed 3 standards in the following manner:

Chordal playing (2 handed, open harmonys),

Right hand: chords, left hand walking bass style accompaniment.

Playing blues in major and minor scales (improvisation with chordal accompaniment) in different keys.

Knowledge of about 10 well known jazz standards at repertoire level from memory - theme and improvisation - with original harmonization. The detailed documentation of the repertoire should be submitted to the exam committee.

Improvisation to the cadential chord lines of major and minor character at sight, given during the exam (such as:  II-V-I-VI) in different keys.

Playing one two-hand piano piece presented at the exam and one theme marked with chords at sight.