Among his keyboard instructors were Nina Emelianova, Vladimir Bunin, Sergei Dizhur, Dmitri Sakharov, and Victor Merzhanov.

[5] His composition studies began with Tatyana Chudova and Tikhon Khrennikov; he later continued them in the independent studio of Alexandr Chaikovsky.

[1][7] Kasparov pursued subsequent doctoral studies in composition at the Jacobs School of Music and the Indiana University at Bloomington, with Claude Baker, Wayne Peterson, Harvey Sollberger, and Eugene O'Brien, and conducting instructor, Thomas Baldner.

Bartók's health grew steadily worse as he worked to complete his Third Piano Concerto, and his rapid decline eventually forced him to concede admittance to a hospital.

The original manuscript, along with numerous others, then became the subject of a protracted legal dispute between a trustee of Bartók's estate, Peter, and Béla's second wife, Ditta Pásztory-Bartók.

Only with the deaths of both the trustee and Ditta was Peter able to regain full possession of his father's documents and begin the long-overdue process of editing them.

[23][24][25] Peter Bartók's intent, in association with Nelson Dellamaggiore, was to reprint and revise past editions of both scores, as well as to eradicate the many printed errors identified but never corrected by his father.

[23] Although few in actual number, changes made to the Piano Concerto affected the pitch content, pedalling, and tempos of several key passages.

Overall, the revisions included including pencil markings by the composer in the final manuscript, not reproduced in the final photo-reproduction; adding revisions based on initial sketches by Béla Bartók; incorporating suggestions by editors and musicians involved in past performances of the Concerto; correcting typographical errors; and correcting errors in the printed piano part, appearing only in the two-piano reduction of the score.

[9] According to conductor David Bowden, and Peter Bartók, who was in attendance: The revised editions of both the two-piano reduction and the orchestral score of the Piano Concerto No.

[23][28][29] In 1920, in tribute to the late Claude Debussy, the French music journal La Revue musicale commissioned works by contemporary composers and concert artists.

The collection was published under the title Tombeau de Claude Debussy, with contributions from Paul Dukas, Albert Roussel, Gian Francesco Malipiero, Eugene Goossens, Béla Bartók, Florent Schmitt, Igor Stravinsky, Maurice Ravel, Manuel de Falla, and Erik Satie.

[30][31] Released in 2007 by Albany Records, with violinists Desiree Ruhstrat and Pavel Ilyashov, cellist David Cunliffe, guitarist Timothy Olbrych, and mezzo-soprano Lisa Relaford Coston, the Invencia Piano Duo (Andrey Kasparov and Oksana Lutsyshyn) produced Hommages Musicaux, which contained both Tombeau de Claude Debussy and Hommage à Gabriel Fauré.

In the mid 1990s, during production of Hommages Musicaux, the Invencia Piano Duo was introduced to the catalogue of composer Florent Schmitt.

Volume 4 featured yet another of Schmitt's compositions derived from the five set notes of the primo part, Trois pièces récréatives, Op.

[40] As of November 2016, it was announced all four volumes would be made available in a box set on the Grand Piano label of Naxos Records, with a scheduled release in January 2017.

[47][48][49] Volume one begins with works influenced by Latin American themes, grounded in the composer's affinity for the culture and his fluency in the Spanish language.