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

Lajkó, István Keyboard and Harp Department, School for Exceptional Young Talents Piano

Lakatos, Ágnes Jazz Department Jazz Singing as Main Subject, Jazz Vocals

Lakatos, György Woodwind and Brass Department Bassoon as Main Subject, Study of Orchestral Parts

Láposi, János Strings Department Strings Methodology, Study of Orchestral Parts, Viola as Main Subject

László, Attila Jazz Department Big Band Practice, Improvisation Practice, Section Rehearsal

Lattmann, Béla Jazz Department Jazz Bass Guitar as Main Subject

Lázár, Eszter Department of Vocal and Opera Studies Movement Technique

Lehőcz, Alexandra Folk Music Department Folk Recorder as Main Subject, Repertoire Studies, Teaching Methodology

Lendvai , Tamás Keyboard and Harp Department Organology

Liget, Regina Department of Teacher Education Oboe Teaching Methodology on Primary Level

Lippe, Angelika Musicology Department German Language

Lipták, Dániel Folk Music Department Analysis of Folk Music, Hungarian Folk Music

Loch, Gergely Musicology Department, School for Exceptional Young Talents History and Literature of Electroacoustic Music, History of Western and Hungarian Music, Music History – Folk Music

Ludmány, Dénes Chamber Music Department Chamber Music, String Quartet

Lugosi Várhalmi, Vera Keyboard and Harp Department, Strings Department Piano Accompanist

Lukácsházi, István Jazz Department Classical Double Bass