Classical Music Will Not Die

Without a doubt I am no music writer through employment

. Then I can say that this makes me real happy.

The starting of the Schumann Fantasie as showcased in the Turkish born Belgian pianist's recent Compact disc: "Schumann-Fantasie" and coupled with the same composer's "Symphonic Etudes", displays calm, health and also breadth and bravery: symphonic pondering, not piano fireworks.

The performer's rhythmic electricity is backed-up with incredible a lyric touch, which makes him so brilliant an expositor of much intimate music. It certain that his tone sustain perfectly. The legato of fading of his melodic notes is actually very perceptible; the pristine release tone helps to remind us what other, even greatest players, contrived to make us forget lately: the piano is simply a singing instrument of music.

The fact that said, let there be a high praise for the approach Mehmet Okonsar displays, apart from the technical skills. What we should not take for the purpose of granted is undoubtedly the composer's acceptance of any old idea regarding a musical work. The piano reasons and even discloses the work. Schumann called the first part of that Fantasie: "(to be played) with whole passion." Heaven help those who expect it to be as clear as, say, this new CD launched.

Therein lies a great deal of the difficulty: one needs to know many compositions in order to grasp this one clearly. Specially the necessity for growth within the intellectual treatment associated with the main theme. The "Finale" gets virtually all musical treatment at its happiest ending. This energetic section of the two main apexes never becomes obnoxious. The last set of "Five additional variations" discovered and published posthumously by Johannes Brahms, is without question, sure to please any serious music lover. For the purpose of real enjoyment, at the sure touch of dainty craft, try the fifth, remarkable variation. Incidentally, find out how much Schumann learnt from Brahms.

The Belgian pianist of Turkish origins, Okonsar is without question an artist whose stature being a pianist has long been unquestioned ever since his triumphal advent on the global classical-music landscape in the early eighties, however his position as a composer in addition to conductor happens to be slowly but surely growing and has now currently achieved respectable recognition.

Mehmet Okonsar is steadily recognized, associated with the essential performers of his generation, and also greatly acknowledged as a number one interpreter of the works of Beethoven, Brahms, Mozart and Schubert. Since winning the sixth prize at the prestigious Gina Bachauer International Piano Competition (1991), Mr. Okonsar has, on a regular basis, performed as soloist and recitalist within the musical capitals and big festivals of Europe as well as in the United States.

There is not extraneous gesture at the hands of Okonsar playing. Each and every step is just planned to activate the key throughout a course of action aimed to the mechanics, driving it with regard to the required sound. Palms are relaxed and they seem to extend almost at view. The Turkish born Belgian pianist's fingertips really do not copy a playing "piece of equipment", you can nearly observe the particular extension and the astonishing flexibility.

by: Rosemary J. Cordero

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