EN
Technique should create itself from spirit not from mechanics.
Franz Liszt to Lina Raman

Viola admission requirements for BA and non-degree studies

Main subject

  • One scale through 3 octaves, arpeggiated triads of the same key, also through 3 octaves.
  • Compulsory Etude: Hoffmeister: No. 4 in D major.
  • J. S. Bach: Prelude and Fugue in C minor + one movement from the Violin Solo Sonatas or Partitas OR two movements from the Violin Solo Sonatas or Partitas 
  • An outer movement of a concerto chosen by the candidate.

Important note: In case the applicant applied for Violin and Viola programmes as well, it is enough to perform a prelude and a fugue from the Cello Suite in C minor by Bach besides the violin main subject material at the viola audition.

 

The Viola Sub-Department is holding an open day on 31 May 2022, between 15.00-17.00 in room X of the Main building of the Liszt Academy at Liszt Ferenc Square.

During the open day applicants have the chance to play their full entrance examination programme or part of it, try out the room, as well as consult with the professors who will hold the entrance examinations.

In case an applicant is not able to attend the open day in person, they may send a video link to international.office[at]lisztacademy.hu until 19 May 2022 and the professors will evaluate it in writing.

 

GENERAL ADMISSION REQUIREMENTS - ONLY FOR FULL-TIME BA STUDIES

A. SOLFEGE, MUSIC THEORY

General requirements: in-depth understanding of the theory of classical harmony (diatonic triads and seventh-chords, their inversions; double dominant; sharpened subdominants with diminished seventh [#IIo7, #IVo7] and their inversions), knowledge of simple and complex forms (incl. compound ternary form [Trio form]).
 
Written examination:
1.) Dictation of a four-part harmonic progression (max. 15 chords), notation of all parts; indication of the harmonic progression with figures above or below the bass line (figured bass) or with Roman and Arabic numerals. (Played 6 times.)
2.) Writing out, in close voicing, of two four-part harmonic progressions (max. 11 chords) from Roman and Arabic numberals.
3.) Dictation of a Baroque imitative polyphonic excerpt (max. 8 bars, 4/4 time signature, generally moving in quavers; played 10 times).
4.) Dictation of a sequence including ten triads and seventh-chords (and their inversions) built on common bass note. The chords should also be named. (Played 3 times.)
5.) Indication of the parts of simple and compound binary and ternary forms of a musical excerpt given on the spot. Indication of proper keys, modulations, cadences and functions are also needed.
 
Oral examination:
1.) Playing (on the keyboard) of four-part harmonic progressions in close voicing (max. 11 chords) with appropriate voice-leading (after dictation).
2.) Sight-singing of the vocal part of a German romantic song – selected first of all from the works of Schubert, Schumann and Brahms (max. 12 bars).
 

B. PIANO AS COMPULSORY SUBJECT

Four piano pieces of different styles, performed in good style, expressively, without sheet music.

  • One piece by J. S. Bach (e.g. a two- or three-part invention, Wohltemperiertes Klavier, French Suite).
  • An opening movement in a sonata-form from a classical sonata.
  • A romantic piece or a piece by Bartók.
  • Sight-reading sheet music received on the spot.

 

C. FOLK MUSIC

  • Informal conversation about the folk music of the candidate's country.