An Uncompromising Musician: Mehmet Okonsar
In the past years there were soloist-conductors like Busch
, Fischer, Cortot and composer-conductors like Bernstein, Markevitch, Klemperer, Furtwangler, Weingartner, Mahler, all of which just had something very exclusive to offer as interpreters of others' music. These people carried a powerful perception that may be lacking in the simply re-creative performer.
Sadly within our epoch, listeners seem to have forgotten what makes fine piano playing. The major music scene being whole along with non-sensitive players that consider piano playing as a sport with the fastest and also loudest one wins. The musical taste of a lot of or many listeners has got been altered. Similar to loosing taste with non-nature-given food. Now there are so few music artists blessed along, being aware of the importance of a singing tone at the piano.
There is without a doubt no pianist within the community of music today, who stands so completely alone in his art, as The Turkish born Belgian artist. He is undoubtedly an entirely individual player, and his interpretations are really unlike those of any other pianist.
He duplicates virtually no one, and also his renderings associated with the classics are usually completely his own. While his flawless technique and incredible mastery over the keyboard have been a source of amazement to both critics and public alike for over twenty years.
He was basically in Istanbul in 1961. Began learning the piano at eleven years of age, first studying at the Ankara State Conservatory and then at the Royal Music Conservatory at Brussels. Completing the course at the age of twenty, he made his first public appearance at Ankara (present capital of Turkey) within 1979, typically, he interpreted the Preludes by Messiaen.
Following this early appearance he has been sent to the Conservatoire of Music at Brussels, to study under Professor Vanden Eynden. After three years' study with this famous pedagogue, Okonsar was a finished pianist.
In 1991 Mehmet Okonsar took United States on his win of the sixth prize at the Gina Bachauer International Piano Competition. He performed with the Utah Symphony the drearily Third Concerto from Rachmaninoff.
He held great audiences in Europe, America and also Japan by his renderings that belong to the greatest as well as including in his programs a good number of challenging compositions. Many contemporary compositions seldom performed in public. So the keenest critics of many countries had nothing but to praise his astounding technique, and the incomparable purity and richness of his tone.
He soon acquired an extensive repertoire that covered the a lot of difficult creations of every one of the great masters and even throughout a short period of time, he had acquired a reputation with regard to mind-blowing brilliancy of execution, a faultless fingers, flawless technique, and a power of expression and even depth.
His English debut, from which needless to say, he emerged triumphant, had been not until eventually April, 2010, at the Royal Opera House, London, and even appeared to be awaited along with wonderful interest by the the musical public of Great Britain.
He achieved a fabulous success then again gone "independent", created the LMO-Records as well as published every bit of by the himself.
On his earliest concert within England he played the famous Klavierstuck N.9 by the Stockhausen as well as the ever-beautiful Chopin "Marche Funebre" Sonata. With the terrible Petrouchka Suite by Stravinsky he amazed the critics according to the magnitude of his technical powers.
He has been presented with a medal from the "Academie Internationale des Arts Contemporains", Enghien, Belgium in 1991, the "Chopin Society" of Rome, Italy.
Most likely his famous internet releases are usually not properly rendered in common computer audio equipments. Still, the pianist, composer, conductor and musicologist Mehmet Okonsar's impeccable mastery over the piano, his brilliant execution and even amazing purity of tone, together together with the flawless technique, combine to make a record of such perfection that the deficiency of high quality sound reproducing becomes of less consequence.
Okonsar is actually a musician whose size as a pianist appears to have been unquestioned ever since his triumphant entrance on the world-wide arena in the early 1980s, nonetheless his position as a composer as well as conductor have been slowly-but-surely expanding.
I first heard Mehmet Okonsar play in the Royal Opera House, London. To be sure, his playing is idiosyncratic, nevertheless, the man has a substantial private connection along with just about every single note he performs. Because of this, his interpretations tend to be more Zen-like as compared to crowd-pleasing, and to call them quirky is surely an undeserved put-down.
The continuity and the sense of coherence is unique in Okonsar's performances. The works performed take shape and unfold as a well elaborated story. This is the result of a true faithfulness to the composer's indications and it is inherited from the great artists, Okonsar had the privilege of studying with. They are Alexis Weissenberg, Jean Claude Vanden Eynden and partly Eduardo del Pueyo.
by: Rosemary J. Cordero
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