A Different Interpretation By The Composer, Conductor And Musicologist As Well As Pianist, Okonsar

In the preceding years we have seen soloist-conductors

, for example Busch, Fischer, Cortot and composer-conductors for example Bernstein, Markevitch, Klemperer, Furtwangler, Weingartner, Mahler.

All of whom had a little something exceptional to provide as interpreters of others' music.

These people revealed so many hidden facets of the performed compositions which were often lacking in the solely re-creative performers.

Mehmet Okonsar presents his own whole set of the "Forty-eight preludes and fugues" by Johann Sebastian Bach; the Well-Tempered Clavier, in a three CD collection.

I am happy to hear this set. Along with Gould, Okonsar is my preferred player of Bach on the piano.

Truly, the only other massive work by Johann Sebastian Bach that could be compared to this one is the Goldberg Variations also supremely performed by those two pianists.

Okonsar's approach to playing will always have the finest, most sympathetic as well as singing tone in every single one of the tiny gems which constitute this colourful work.

The exposition of the themes in each individual fugue show their deep intellectual conception, as well as their particular physical power.

I have never found such a lot of imagination, which in turn, remains "styled" Bach playing, in particular when done on the piano.

Okonsar, under no circumstances, spoils the composition by sprawling. I believe he has the proper intellect for Bach.

Nevertheless he can do some points surprisingly and may be even outrageous at places. He might be said to be inclined to spread way too many chords, though.

I may detect all through the CD set skill and know-how, which often emerges together with creative concept and artistic perspective.

While playing you must also have fun with music. Okonsar's precision and accuracy are soothing; but if they emerged without such a level of artistry as well as brooding lyrical emotion, J.S. Bach would not be fully nourishing.

The lively, as well as fast, second part (in E flat) of the "Schumann Fantasy in C" op.17, as performed by the Belgian artist Mehmet Okonsar within his Compact disk "Schumann-Fantasy" opens along with largest arpeggio chords and proceeds with an ordinary Schumann-type, dense polyphonic piano writing.

Several interlude parts introduce quiet reveries in this rather cavaliering movement. Yet, nothing within the Belgian pianist from Istanbul, Okonsar's playing, turns that into a "military" kind of dry and harsh performance as it is actually often-times seen elsewhere.

The drearily "coda" together with its famous "jumps" is definitely executed with extreme precision as well as bravura.

The following last movement of the Fantasy, a long, intensive melodic section, noteworthy with regard to the two large "crescendos" bringing the two apexes, is performed with great sensibility.

The duo melodies, so common in Schumann's works are typically made to "speak" with each other. After it, we proceeds to the greatly emotive "coda". The final large arpeggios are performed in an intense and dramatic approach.

Even at his earliest public appearance of 1979, the individual eclecticism later associated with the pianist Mehmet Okonsar's recital programs could be witnessed. He offered a variety of the Preludes by Messiaen, among others, in his first public appearance.

Okonsar is certainly a musician whose stature as being a pianist continues to be unquestioned since his triumphal appearance on the world-wide arena in early 1980s, yet his standing as a composer as well as conductor has been slowly and gradually climbing and now reached desirable levels.

There is certainly no unwanted gesture at the hands of the pianist and composer Okonsar. Just about every spin is thought to arrive at the key in a course of action so as to activate the mechanics behind it for the desired sound.

Hands are comfortable and also they expanse practically at eyesight.

The Belgian pianist from Istanbul, Okonsar's fingers never mimic a playing "piece of equipment", it's nearly possible to see the extension and also the spectacular flexibility.

by: Rosemary J. Cordero

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