Peter Pan Suite

Original title: Pán Péter Suite

Orchestra Suite based on the children ballet under the same name.

Full instrument list:

  • Piccolo
  • Flute
  • 2 Oboe
  • 2 Clarinet in B-flat
  • 2 Bassons
  • 2 Horn in F
  • 2 Trumpets in B-flat
  • 2 Tronbones
  • Tuba
  • 2 Percussionist (Gran Cassa, Suspended Cymbal, Piatti, Bells, Tamburino, Tamburino piccolo, Glockenspiel, Xylophone, Wood Bock, TamTam)
  • Timpani
  • Piano
  • Celesta
  • Harp
  • Strings

Leander and Linseed

Original title: Leándersz és Lenszirom

“for my sons Marci and Zsiga”


Opera for children in two acts

Libretto by Barnabás Szöllősi based on the play of Andor Szilágyi

Performed by the Hungarian State Opera for 3 seasons with estimated 15 000 viewers.

original performance directed by: Sándor Zsótér

Released on DVD in 2016 under the name of Útravaló 2016 (Leánder és Lenszirom)

Duration: Act 1 approx. 40 minutes and Act 2 approx. 50 min.


LEÁNDER (Leander) , goblin – bass-baritone
LENSZIROM (Linseed), princess – lyric soprano
BOGYÓ, servant of Leánder – baritone
CSIBECSŐR, servant of Linseed – soprano

BÖLÖMBÉR KERÁL, king – bass (bass-baritone)
BÖLÖMBÉR KERÁLNÉ, queen – mezzo-soprano
MAR-SZÚR HERCEG, prince, lord of the wasps – tenor (spinto)
TÖNDÉR NEGÉD, queen of decency and charm – soprano
VAKNADÁLY, lord of the lake – contra-tenor
CSÍJJEGŐS BŐREGÉR, blood bat 1 – alto
CSUJJOGÓS BŐREGÉR, blood bat 2 – tenor
HORLOLÁBOK (1 and 2), 2 guards – male choir members
MÉZELŐK,VÉRBÖGÖLÖK army of wasps – children’s choir


Arrangement (Symphonic orchestra):

1. Flauto
2. Flauto / Flauto Piccolo
1. Oboa
2. Oboa / Corno Inglese
1. Clarinetto in Sib
2. Clarinetto in Sib / Clarinetto basso in Sib
4 Corni in Fa
2 Trombe in Do
3 Tromboni
4 Percussionisti (Triangle, Bass Drum, Snare Drum,Tam-tam, Tenor Drum, Cymbals, Suspended Cymbals,
Roto-toms, Castagnets, Shaker,Tamburine,Wind Chimes,Wood Blocks, Crotales,Tubular Bells, Glockenspiel,
Xilophone, Marimba)
Violini I
Violini II
Contrabassi a cinque corde

Orchestral Suite

Original title: Zenkari szvit

duration: approx. 24 minutes


Flute 1.
Flute 2./Picc.
Flute 3./Picc.
Oboe 1.2.
Cor Anglais
Clarinet in Bb 1.2.
Clarinet in Bb 3./Bass clar. in Bb Bassoon 1.2.
Horn in F 1.3. Horn in F 2.4. 4 Trumpets in C 3 Trombones Tuba
3 percussionists (Gong, Snare Drum, Bass Drum, Cymbals,Wood Block,Triangle,Tamburine, Glockenspiel, Xilophone, Windchimes)
2 Harps
Violin I Violin II Viola Violoncello Contrabass

First performed on 9th January 2020 at
Győr Philharmonic Orchestra
conducted by: Zsolt Hamar

Composer’s comments:

I wrote my orchestral suite in 2015. It is based on my diploma piece composed in 1994, which was written for two soloists and an orchestra. I already felt the need for the rearranging the presentation of the vocal version, but I had to move away from the piece so much that I could start again with a clear mind, so by 2015 the composing of the final form and content was postponed. The first form of the piece made it clear that it was actually an orchestral work that didn’t really allow room for the two singers, and it wasn’t a matter of volume or instrumentation technique, there were much more substantial signs of that. Following this thinking, I redefined the musical texture, so the Orchestral Suite was born. Reflecting on the correlation between ballets and suites made from them, the title suggests a bit that there is a basic work that has this form of suite, but the free, often contrasting parts of the “suite” genre designation as characteristic items also applies to the piece.
In terms of structure, it has six parts. The brief introduction of 1st Movement is triggered by an English horn over an almost motionless string section, to which the woodwinds join. From this is born the movement, the dense, loud, dystopian, dramatic fresco, which is divided by woodwind and brass solo parts. The 2nd movement appears as a contrast, after the overwhelming, pulsating 1st movement, we actually hear a chamber music arrangement, over the ticking eighths of the harp and the xylophone a lyrical English horn is sung, to which the flute solo also joins. The disciplined lyric that sounds after the disintegrating drama does not bring about dissolution, but rather sits in a kind of waiting, focused silence. A soft, short, almost parenthesed item, a strong contrast to the first.
The 3rd movement is an extroverted, mosaic-colored music that actually operates with circus instrumentation effects. Its performance requires concentrated plasticity throughout due to the frequent successive character and instrumental changes. Although it has a saturated orchestration, it should still be light-hearted. This item clearly conveys a positive, playful atmosphere, but its playfulness is naive, so you can’t take the serenity really seriously.
The next movement, 4, is arranged around the sound of “F sharp”, which starts with a large unison and then dominates the music later. It contrasts with the saturation of 3rd Movement with its simplexity. This is again a slow, short movement, which is its 2nd pair, but here the seriousness of the message is indicated by large unison blocks. The main role of the woodwinds and deep strings is to articulate what they have to say, grouped in one way or another. Towards the end, the movement fades and simplifies, the flute ostinato fluttering over the bells of the harps, through this musical texture we hear the initial, large-scale melody on basses and cellos, English horns and bassoons. The movement dissolves into a quartet-like, pure harmony in D major, closing with a sentimental seventh interval sound familiar from movie soundtracks.
5th and 6th Movements play attacca . The loudness of 5th Movement is a bit reminiscent of 3rd Movement, but it is gloomy, masculine, bacchanalian based. Xylophone sixteenths signal the start 6th Movement, creating a curtain-like motif with great orchestral hits. It dissolves into a patch-like, less motive, quiet middle section, followed by the exposed, dramatic, over-romanticized climax, which can also be interpreted as the climax point of the whole piece.
The pairs arrangement of the piece structure is shown in 5th and 6th Movement. appears in a kind of cohesion, the extroverted and introverted elements build the musical process by condensing and interrupting each other. Eventually, the energies are extinguished, losing their strength, silent, almost giving up the struggle, without dissolving.
The work was made with the support of the Hungarian National Fund.


New Year Greetings

Original title: Évköszöntő

For orchestra and children’s choir, commissioned by the Hungarian State Opera.

duration: approx. 11 min.


Clarinet in Sib
Clarinet in Sib/1Bass Clarinet in Sib
4Horns in Fa
2Trumpets in C
Timpani (G, A, B, Bb)
Drums (Bass Drum, Timbale 14″, Glockenspiel, Cymbal, Suspended Cymbal, Triangle,
Tambourine, Tom-toms, Wood block)
Children’s Choir


Adjon Isten minden jót
Ez új esztendőben:
Jobb üdőt, mint tavaly volt,
Ez új esztendőben;
Jó tavaszt, őszt, telet, nyárt,
Jó termést és jó vásárt
Ez új esztendőben;

Adjon Isten minden jót
Ez új esztendőben:
Zsíros esőt, kövér hót,
Ez új esztendőben;
Bő aratást, szüretet,
Egészséget, jó kedvet
Ez új esztendőben!

Adjon Isten minden jót
Ez új esztendőben:
Drága jó bort, olcsó sót
Ez új esztendőben;
Jó kenyeret, szalonnát
Tizenkét hónapon át
Ez új esztendőben!

Adjon Isten minden jót
Ez új esztendőben:
Vegye el mind a nem jót,
Ez új esztendőben;
Mitől félünk, mentsen meg,
Amit várunk, legyen meg,
Ez új esztendőben!

Rough translation:

May God grant us all the best
In this new year:
Better wheather than last year
In this new year;
Good spring, automn, winter, summer,
Good harvest and good market
In this new year;

May God grant us all the best
In this new year:
Gross rain, fat snow
In this new year;
Rich harvest, vintage,
Health, good mood
In this new year!

May God grant us all the best
In this new year:
Expencive good wine, cheep salt
In this new year;
Good bread, bacon
For twelve mounthes
In this new year!

May God grant us all the best
In this new year:
Tahe away all the bads
In this new year;
From all that we fear, may God save us,
Let it be what we’re waitng for,
In this new year!


Pert Em Heru

Oratario for 4 solois, mixed choir and symphonic orchestra.

Commissioned by the Béla Bartók International Choir Competition, Debrecen.

Libretto by Zsófia Tallér based on the original German translation of Prof. G. Kolpaktchy

Duration: 45 min

Pert Em Heru – meaning: Coming Forth by Day. This is how the ancient Egyptians called the beginning of the soul’s journey after death. The Egyptian Book of the Dead contains the prayers, monologues, testimonies for the sublime and fearful moment of leaving earthly life, and they are bound to the soul becoming a god. The lines can be read into short chapters, divided into “magic formulas”, so-called Ra-U-s. Most of the many hundred-page Book of the Dead is 5,000 years old, but there are also lines between ten and fifteen thousand years old. They speak to us from a startling distance – at the same time they are shockingly experiential, they talk about familiar feelings, fears, anxieties, trusts, faith.
In contrast to the Christian Requiem texts, this collection does not focus on the grief of the survivors, the prayer for divine grace, punishment, forgiveness, the Almighty, his atonement or glorification, but the experiences of the soul who is the protagonist of the events. who had just “crossed the sacred threshold.” All this is done by in the first person, so in the form of experience, avoiding all lyricism, it practically reports on your journey. The power of the text is not given by the poetry of word usage, but by the always poignant nature of confession; a diary-like account of, moment by moment, what he feels, what the dead “live through”.

This fascinating memory of the death mythology of ancient people is able to appeal to modern man because the language of description is direct, pathos-free, practical. The soul, “stepping out into the radiant light,” reacts in a very authentic, human way: it is almost confused in fear, it simultaneously feels abandoned, euphoric, paralyzed, overwhelming strength, weakness, divine grace, demonic destruction. He feels like an infinitely vulnerable, weak being and omnipotent god at the same time. The text is an unstoppably flood of man’s experience of death, interrupted only in some places by a prayer or anthem.
The soul, having endured the trials waiting for him in the afterlife, and proved sufficiently sinless in the hall of the goddess Maat, avoids the second, final death and can truly step out into the full light of the day. He himself will be a god, “he is free to walk in the circles of the dead.” Now he is his own master, he decides whether to fly from planet to planet, or rather to quietly relax from the hardships of his life, or just return to Earth.

Due to the difficulties of translating the hieroglyphic text and the disappearance of the culture, a full understanding of the Book of the Dead, which is stitched with symbols and references and conveys extremely complex religious knowledge, is not considered possible today. Choosing from the ranks of this fantastic journey was not driven by a desire for scientific authenticity, nor by a religious vocation, but by the possibility of a musical situation inherent in the drama of the ancient text. The volume first came to my attention in the excellent translation of András Bánfalvi, who based on the work of Prof. Kolpaktchy, who translated the original Egyptian text into German. I also searched for this first German translation, and then delving into the German text, I decided to peel the poetic-translator’s creativity from the Hungarian translation, and made the most faithful but raw version of the original text possible. Treating the lines with complete freedom, I wrote the libretto, an aria composed of even the words of several independent magical formulas. This was also possible because the book does not proceed linearly in the presentation of experiences, presenting almost the same cavalcade of feelings over and over again, differently. In his preface, Bánfalvi calls him a “polyphonic fugue,” who accurately recognized the book’s relationship to music. I kept the experience of the text flowing like a stream, and I don’t pause in my forty-minute piece either. Without stopping, but perceptibly, I arranged the web of the items into three large parts, three “RA-U”.
Whether the accounts of the Death Book are true, whether eternal life after death is indeed open to us, or the visions of returnees from clinical death, and the experiences in the Death Book that are strangely consistent with it, are merely due to the fact that after the death of the body the dying of the soul is longer and more visionary – I end my piece with this open question.
My mother twenty and my father twenty-five years ago stepped out into the bright light or rather say coming forth by day. “Pert Em Heru” was born to them. I respectfully thank the work of everyone who undertakes to preforme my oratorio.

Zsófia Tallér


List of instruments used:

  • Piccolo
  • 2 Flutes
  • 2 Oboes
  • 2 Clarinets in Sib
  • Bass Clarinet in Sib 
  • 2 Bassoons
  • Contrabassoon
  • 5 Horns in F
  • 3 Trumpets in C
  • 2 Trombones
  • 2 Bass Trombones
  • Tuba
  • Timpani
  • Precussion 3 players (Bass drum, Taiko Drum, Snare Drum, Crasch Cymbal, Suspanded Cymbal, Triangle, Crotales, 
  • Roto-toms, Tam Tam, Glockenspiel, Xylophone, Tubular Bells)
  • Piano
  • Celesta
  • Harp
  • Mixed Choir
  • 4 Soloists: Soprano, Mezzo-Soprano, Tenor, Bass
  • Strings


First performed by:

Kodály Philharmonia Debrecen

Koály Choir Debrecen


Ildikó Katalin Cserna – soprano

Marianna Bódi – mezzosoprano

Zoltán Meggyesi – tenor

Géza Gábor – bass

Conductor: Máté Szabó Sipos

The Horse of the Prince

Original title:

A Herceg lova

Opera in two acts

Libretto by Zsuzsa Rakovszky based on the short story of Tolstoy

Dramaturgists: Zsuzsa Radnóti, László Marton

Concerto rigoroso


First performance:

Dohnányi Orchestra Budafok, conducted by Gábor Hollerung, soloist: András Fejér (trombone), Olasz Kultúrintézet 2011

Other perfomance:

Savaria Symphonic Orchestra, conducted by Isaki Masahiro, soloist: András Fejér (trombone), Szobathely 2012


Gulliver in the Land of the Dwarves

Ballet for children

Commissioned by Madách Musical Dance School


Performed at the Palace of Arts, Budapest


Peter Pan and the Lost Boys

Original title:

Pán Péter és a megtalált fiúk

Ballet for children, co-composed with Csaba Faltay


Performed at the Palace of Arts, Budapest

In memoriam Bálint Balassi

Original title:

Balassi Bálint nevére

Cantata for soprano voice and orchestra.

First prize at the composer contests by the Hungarian Ministry of Culture and MATÁV Symphonic Orchestra

  1. Psalmus CXLVIII. (duration: 4 min 50 sec)
  2. Ejusdem Generis (duration: 4 min)
  3. Interludium (duration: 3 min)
  4. Aenigma (duration: 3 min 50 sec)
  5. Psalmus XLII. (duration: 5 min 40 sec)
  6. Adj már csendességet (duration: 4 min 50 sec)

First performance:

MATÁV (Hungarian Telekom) Symphonic Orchestra

Soprano solo: Csilla Boros

Piano solo: Alex Szilasi

Conductor:  Márton Rácz