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

Rajk, Judit Church Music Department, Kodály Institute Classical Singing, Early Baroque Liturgical Songs, Voice Production Techniques

Rápli, Györgyi Department of Teacher Education Solfège and Primary School Music Teaching Methodology on Primary Level

Ratkó, Ágnes Keyboard and Harp Department Chamber Music, Continuo, Harpsichord, Harpsichord as Main Subject, Historical Systems of Tuning

Razvaljajeva, Anasztaszija Keyboard and Harp Department Chamber Music, Harp as Main Subject

Regály, György Jazz Department Piano

Réti, Balázs Keyboard and Harp Department Piano as Main Subject

Richter, Pál Folk Music Department History of Hungarian Music and Hungarian Folk Music

Rohmann, Ditta Strings Department Cello as Main Subject

Rolla, János Chamber Music Department Chamber Music, Orchestra, String Quartet

Romos, Zsolt Department of Teacher Education, Woodwind and Brass Department Flute as Main Subject, Flute Teaching Methodology on Secondary Level, Methodology of Flute Performance

Rónaszéki, Tamás Chamber Music Department, Strings Department Chamber Music, String Quartet, Study of Orchestral Parts

Rozmán, Lajos Kodály Institute Chamber Music, Contemporary Music Practice

Rumy, Balázs Woodwind and Brass Department Clarinet as Main Subject

Ruppert, István Keyboard and Harp Department Chamber Music, Organ as Main Subject, Repertoire Studies