kapta – -Translation – Keybot Dictionary

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A darabok megtanulását a világos kottaképen és a gondosan megválasztott lapozási helyeken túl azoknak a korabeli, 1720 és 1820 közt készült billentyűs hangszereknek a színes képei teszik élményszerűvé, amelyekre a kötet darabjai is íródtak. Közülük a legkülönlegesebb a borítón látható zsiráfzongora volt, amelyről albumunk a címét kapta.
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Correct interpretation of the pieces is facilitated by added performance and fingering marks. Learning is helped along by clear presentation of the score, carefully placed page turns, and by inspiration from colour images showing the keyboard instruments of the 1720-1820 period for which the pieces were written. The most notable of them is the giraffe piano, after which the collection is named.
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Felhasználó elállási jogát a Kotta kézhezvételét, vagy amennyiben a szerződéskötésről szóló megerősítést később kapta kézhez, ennek kézhezvételétől számított nyolc napon, de legfeljebb három hónapon belül gyakorolhatja a Kotta EMB-nek történő visszaküldésével.
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10.1 The User who is to be considered as consumer under the provisions of the Hungarian Civil Code and the Act CLV of 1997 is entitled to withdraw from the purchase contract in case of purchasing a printed Sheet Music according to the provisions of the Government Regulation 17/1999 (II.5.) on the protection of consumers in respect of distance contracts (hereinafter “Government Regulation”). User may exercise the right of withdrawal from purchase within 8 days, but at a maximum period of 3 months after the receipt of the Sheet Music or, in case the confirmation on the signing of contract is received later, the date of the receipt of the confirmation by returning the Sheet Music to EMB. The direct cost of returning the Sheet Music shall be born y User without any further costs.
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A párizsi zeneszerző-szemlén már 1971-ben díjat nyert, s a 70-es évek végétől sorra kapta a megrendeléseket olyan intézményektől, mint a Koussevitzky vagy az Elizabeth Sprague Coolidge Alapítvány, illetve a Bostoni Szimfonikus Zenekar.
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Balassa received his diploma in composition in 1965, at the age of thirty. In the subsequent years his compositions attracted considerable international attention. He won a prize at the Paris Rostrum of Composers already in 1971, and from the late eighties was receiving commissions from institutions like the Koussevitzky or the Elizabeth Sprague Coolidge Foundations or the Boston Symphony Orchestra. The main characteristics of his music are the extraordinary diversity of genres, the rich invention and the strong lyrical quality; the latter is connected with his special sensitivity towards vocal music and poetry. His early style, based on free dodecaphony, gradually gave way to a more diatonic way of thinking, and the influence of the European musical past and of Hungarian folk tradition became a decisive element. His tonal musical language, more accessible to the public, played a role in the remarkable success of his stage works.
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Zeneszerzést előbb Szelényi Istvánnál tanult a Budapest Bartók Béla Zeneművészeti Szakiskolában, majd a Liszt Ferenc Zeneművészeti Egyetem zeneszerzés szakát végezte el Szervánszky Endre osztályában. Zongorát Ferenczi Györgynél  tanult. 1972-ben kapta meg kitüntetéses diplomáját. Diplomamunkájaként egyfelvonásos operát  írt a Magyar Televízió felkérésére (A nő meg az ördög).
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A wide range of music genres appears in his compositions. The reviews point out the dramatic depth, the singing technique and the new style of using the human voice in his music. His instrumental music, especially his flute works can be characterised by seeking of new ways of instrumental technique. In his chamber works he developed a unique method for the realisation of more complex, so-called “non-equivalent” proportional rhythms. The influences of electronic sounds, as in Hímzett hangok (‘Embroidered Tones’, 1989), and aleatory techniques, as in Tabulatúra (1996), are present in his works. In his opera Lót he employs the repetitive technique of minimalism, using it to diverge from traditional dramatic concepts: instead of musical development shadowing the dramatic narrative, the opera is made up of frozen musical moments.