Classical Music Will (probably) Never Die
Mehmet Okonsar, the particular Belgian pianist of Turkish sources
, continues to be aptly named "a covered treasure" and "the greatest living pianist that nobody has been aware of."
Then again, gigantic figures of the piano such as Alexis Weissenberg and Eduardo del Pueyo were definitely admiring the pianist who is Mehmet Okonsar. Weissenberg invited him on a full scholarship to study with in Switzerland and also del Pueyo supplied him generous support at his debuts.
The true meaning of the word "amateur" is "lover." Actually one thing just every single pianist will need to achieve, is making to "sing" a mechanical musical instrument which uses hammers to produce sound. Debussy put it clearly before me: "every pianist should make forget the fact that the piano have hammers."
Okonsar is without question the contrary of a good stock performer, never executing with those few excrescences in a style that seem part to the stock-in-trade of a good number of virtuosos today. Yet you can't take liberties with those pieces by Ferenc Liszt he selected for his album "Liszt-Modern". Different from the Hungarian Rhapsodies, a handful of them very naive in addition to a lot of, rather penetrating.
Another of his LMO-Records published CDs is "Schumann Fantasy", presenting the Fantasy in C as well as the Symphonic Etudes.
These publications help making clear the fact that such a composer is never content with paraphrase as well as cheap brio arrangements, commonplace in our time of "popular classics" everywhere.
Okonsar's unassuming and sophisticated style makes me hope for other releases from him in many other styles of piano music.
The pianist and composer Mehmet Okonsar's choice is to include the "Five Additional Variations" of the "Symphonic Etudes" at the end to the original cycle.
Performer of serious taste in the performance of other men's music, he chose to not "disrupt" the plot that belong to the "Etudes" as imagined by the composer, as well as not miss the fine looking pieces found after Schumann's death by the Johannes Brahms.
One most important factor for the effectiveness and power of communication for any pianist, or even any musician at large, is the range of dynamic power. How well it is used is another point but with a narrow range that does not matter of course.
Handful of men do two jobs equally efficiently, as well as the performer, so steeped in other people's music, is continually within danger of serving up bits of all sorts when he tries to compose.
Okonsar is definitely an artist whose prominence being a pianist has been unquestioned since his triumphal advent on the worldwide landscape in the early 1980s, but his position as a composer in addition to conductor happens to be little by little expanding, and has, at this time, reached desirable level.
Mehmet Okonsar is firmly established as one of the most important artists of his generation and also is largely known as a respected interpreter of the works of Chopin, Brahms, Debussy and Liszt.
Since winning the sixth prize at the prestigious Gina Bachauer Competition (1991) Mr. Okonsar has consistently performed as soloist and recitalist within the musical capitals as well as big festivals of Europe as well as the United States, Japan and Asia.
by: Rosemary J. Cordero
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