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In his Sonata, Peter Wolf puts his style well-known from the character pieces of his previous piano series (Wolf-temperiertes Klavier, Jazz preludes) in the service of a demanding form. We can recognize the style that can be traced back to jazz and Bartok, the characters that tap like a toccata or swirl like perpetual motion, the singing lyrical melodies or even such playful turns as the baroque musette-like episode of the slow movement. Like Wolf's previous piano works, this multi-faceted composition, which sets high standards in terms of instrumental technique, was inspired by the outstanding pianist Jozsef Balog and gives the impression of his individuality as a performer.

The composition was written in 2013 at a commission of flutist Rebeka Kruchio. Mate Bella, as in many of his other works, examines here the possibilities of the transition between noises made by musical instruments and musical sounds. At the climax of the piece, the flutist blows the syllables of the name RE-BE-KA into the instrument.

The title of the chamber piece Self-Quotations already carries the danger of sentimental retrospect. Of course, Jeney rejects this possibility: he summarizes the confrontation with his own career so far not in a large-format composition intended to be representative, but in a chamber work written for five instruments. Self-control and the tension that comes with it is also manifested in the fact how he highlights the self-quotations from their original environment, completely transforms them, and, as if they were just found objects, is preoccupied with what he can do with them. Distancing oneself from erupting emotions is associated with playfulness in the Self-Quotations. The playfulness in Jeney's work can be grasped in a variety of compositional processes, all of which call attention to the fact that in this retrospective work the composer was primarily concerned with how to construct a composition from as few and simple musical elements as possible. (Anna Dalos)

These cadenzas were originally written for my son. Composing them, I summed up my own musical and performing experience of many decades, and my respect for Haydn's art. My intention was to follow the style of the composer's era as accurately as possible. (Miklos Perenyi)

Based on my own performing experience of many decades, these cadenzas are written on Haydn's musical ideas (themes, motifs, materials from his orchestral ritornellos). My intention was to follow the style of Haydn's era as accurately as possible. (Miklos Perenyi)

Mate Balogh's (*1990) solo viola piece, Three Songs, completed in 2015, is based on the sound of folk music from three non-European peoples, but it does not evoke original folk melodies. Translating them into the composer's own musical language, the first piece imitates the overtone-based singing of Tibetan Buddhist monks, the second the quarter-tones of Armenian folk melodies, and the third the motif-repetition technique of the Navajo Indians.

Similarly to Bach's cycle The Well-tempered Clavier or to Chopin's 24 Preludes, and similarly to his own collection published in 2019, the Wolf-temperiertes Klavier, Peter Wolf penned 24 piano pieces again. His Jazz Preludes set examples for improvisation and make use of the entire stylistic spectrum of jazz, ranging from the gospel (Anthem, No. 7) to blues (Windlass, No. 1), bebop (Crime, No. 11), Latin jazz (Tropical Night, No. 6), and, of course, the world of ballads (Nostalgia, No. 4 and Question Without Answer, No. 16). The individual movements are no mere style exercises or piano technique exercises but, like Debussy's preludes, they are expressive character pieces: musical images of a phenomenon, an emotion, a behavior pattern, a personal experience reflected by their titles.