Ferenc Liszt,the Hungarian Master As A Precursor Of Modernity A New Cd "liszt-modern"

Celebrated for his symphonic tone poems, Hungarian rhapsodies

, along with a ostensibly an infinite stream of piano music (together with an ultra-popular set of piano concertos), Franz Liszt is currently proven to have spent the final twelve years of his existence working on the huge oratorio about the life of Poland's patron: Saint Stanislaus, who was martyred in 1079. Just the first and fourth scenes were truly completed, nonetheless.

The tracks presented in the CD "Liszt-Modern" by Mehmet Okonsar are: "Fantasie und Fuge uber das Thema B-A-C-H"; "Variationen uber das Motiv von Bach ("Weinen, Klagen, Sorgen, Zagen")"; the two "Legendes"; "Les Jeux d'Eaux a la Villa d'Este", the famous Bagatelle Without Tonality and the two "Csardas" "Macabre" and "Obstine". Additionally, the artist Mehmet Okonsar offers in his official website the two "Threnodies" (from the third year of the "Annees de Pelerinages")

A exciting, electrifying speed and also perfection characterizes the particular "Lisztian" octaves. Nonetheless, they are not dry out neither mechanical in Okonsar's playing.

In Okonsar's performance the large number of "showy" batches of octaves which in turn are ordinarily done as upheavals of a machine-gun, change into orchestral in sound. This really is because of the reason that the multi-faceted music artist Okonsar involves the extra energy to do all of them practically "legato" and they sound like the Violins One and Two of an orchestral ensemble.

Sets of chords also wear a "legato" and an orchestral sound. The multi-faceted music artist Okonsar creates that by carrying them just as much as one can do, compared with a number of other pianists who strike them and abandon for the pedal to supply the sound. The affect of Weissenberg's playing is apparent there. Hands are practically "sliding" over the keyboard they do not bump up and strike.

The continuity as well as the sense of coherence is certainly particular inside Mehmet Okonsar's performances. The musical works executed consider form and also unfold as a nicely elaborated history. This is without a doubt caused by a balanced loyalty on the composer's hints and it is really handed down within the excellent performers, the pianist and composer Okonsar received the benefit of studying with. These people are Alexis Weissenberg, Jean Claude Vanden Eynden in addition to partly Eduardo del Pueyo.

There is not any pointless motion at the hands of the independent musician Okonsar. Just about every technique is strictly thought out to arrive at the key inside a strategy to trigger the mechanics lurking behind it for the desired sound. Hands and fingers are comfortable and even they stretch out essentially at sight. Mehmet Okonsar's fingertips really do not imitate a playing "machine" it's possible to nearly see the particular extension in addition to the amazing flexibility.

One most important factor for the purpose of the effectiveness and also power connected with transmission for the purpose of just about any pianist, or even any kind of musician at large, is the range of dynamic power. Precisely how very well it is in fact utilized is one other phase, truthfully with a slim variety that does not make a difference needless to say. The dynamic array with regard to a piano player, means how far is the particular most elegant "pianissimo" from the breaking "fortissimo" is really a major point within the particular communication power associated with the artist.

Everyone knows that a good singing voice seems to have a lot of power without having ever forcing it. Any nuance is available naturally pretty much with ease. It's the same the case for the purpose of pianists. Each nuance has to come similarly without difficulty from a high quality pianist's fingers. This is exactly the case with Mehmet Okonsar.

Pedal is in no way utilized to cover flaws. With Okonsar, pedaling may be sometimes at the boundaries of the harmonic blur, having said that, this is often on purpose and it gets immediately evident. For example: the lengthy recitatives or very exclusive sound effects requested by Franz Liszt (i.e. the 3rd. Hungarian Rhapsody in which the left hand takes on a melody in the extreme low register which is depicted using an extended pedal sustain) or within the particularly prominent passage of the "Tempest" Sonata (op.31 number:2) by Beethoven, in which a lengthy sustained pedal is evidently advised by the composer to give the passage its incomparable sound, are consistently performed. Also inside parts without having pedal, the actual playing is in no way dry.

The playing of those two Legendes are typically visionary. The actual "conversing with the birds", inside the first one, is without a doubt my favorite. The composer, conductor and musicologist as well as pianist Okonsar re-creates each of the complex sonorities expected. The prophet's voice is warm and delicate while "birds" get inside virtually inside a three dimensional sound space.

The really late pieces inside this specific compact disc release are typically the two Csardas. They might be assumed of as the latest Hungarian Rhapsodies. We've here each of the early Bartok in a musical language which also exceeds the Bagatelle Without Tonality also inside this valuable CD.

The particular bonus tracks truly worth a trip on the artist's formal web site. Generously offered there, the two "Threnodies" (Cypres de la Villa d'Este) with the particular number two paraphrasing the main Tristan opening theme by Wagner are usually tremendous pieces. They are really interpreted with an in-depth sensibility by the multi-faceted music artist Okonsar.

Mehmet Okonsar was born in Istanbul (Turkey) and resided in Paris in the course of his initial instruction. He began studying piano at the National Conservatory of Ankara, with Nimet Karatekin and Necil Kazim Akses.

Right after about a year and half learning at the Ankara Conservatory, the Okonsar family transferred to Belgium where Mehmet got into the class of Jean-Claude Vanden Eynden at the Brussels Royal Conservatory of Music.

Additionally, the actual style as well as guidelines of Pierre Sancan who have been the professor of Michel Beroff, met with Okonsar in the person of one of the master's students he met for the duration of his limited stay in the Turkish capital in the last years of the 70's.

His initial critical recital occurred in 1979. The program integrated Preludes by Messiaen and the Pictures of an Exhibition by Mussorgsky.

The piano studies of Okonsar was concluded with all the best honors any student can certainly ever get at the Royal Conservatory of Brussels. "Premier Prix avec Distinction", performing the "Dante Sonata" by Liszt pursued by "Diplome Superieur de Piano Avec la plus Grande Distinction, Premier Nomme", in 1986, performing the Piano Concerto Op. 42 by Arnold Schoenberg.

At the conclusion of his piano studies, Okonsar obtained the particular benefit of working with one of the biggest composers of Belgium: Madame Jacqueline Fontyn. He as well studied with a student of Messiaen, Claude Ballif. In 1989 he obtains his certifications in Composition-Orchestration from the Royal Conservatory of Music of Brussels.

One afternoon telephone rang and a lady dialing from Switzerland inquired him. Alexis Weissenberg, a pianist Okonsar venerated along with nearly worshiped, required him to study with in Switzerland. Cash appeared to be short though the master made available Okonsar a complete scholarship. One can witness in all performances by Okonsar how deeply Weissenberg had an effect on him.

Right after being a Belgian national, Mehmet Okonsar and his wife Lale, painter headed back to Turkey following an invitation from the President Suleyman Demirel who provided him the particular most sought-after title of "State Artist of the Turkish Republic".

"Essentially I usually do not reside in Turkey but in the Internet" says Okonsar.

He's got created a tremendous profile on the World wide web, working a number of websites, weblogs and publishing companies.

He is the manufacturer of his personal records and books.

An initial prize at the International Young Virtuoses Competition of Antwerp in 1982, was initially the beginning of his global career.

Constantly programming by far the most demanding pieces, Okonsar's orchestral debut was initially the 3 rd Concerto by Rachmaninoff performed at the de Singel Concert Hall in Antwerp.

Yet his genuine jumping board has been in Utah, the sixth prize at the "Gina Bachauer International Piano Competition", 1991.

The "Academie des Arts Contemporains" of Enghien, Belgium honored him in 1991, for his acoustic and electronic compositions with the Gold as well as Bronze medals respectively.

Sometimes he endorses the position of a judge in selected piano competitions for example the National Piano Competition of Japan in the auspices of the P.T.N.A. ("Piano Teachers National Association").

His studies on music and also technologies ended up exposed in a lecture at the Yamaha headquarters in Hamamatsu, Japan.

Okonsar has performed recitals presenting the entire piano works by Arnold Schoenberg, Alban Berg and Anton Webern. Irrespective of he denies almost all form of "musical specialization", his repertoire is actually greatly on the "modern" side with Igor Stravinsky "Three Movements of Petrouchka" the "Sequenza" for the piano by Luciano Berio and the Klavierstucke by Karlheinz Stockhausen.

The composer, conductor and musicologist as well as pianist Okonsar is without question a powerful adept of most of the "Free Music" philosophy. Virtually all his compact discs are shared basically by the autonomous musician and performer. This is actually a real brand new disposition that, according to the composer will probably be of tremendous profit to both most of the artist, the particular release as well as the particular classical music community.

Likewise the primary digital video site Youtube(r) displays availability of the Belgian artist Mehmet Okonsar's performances at the piano clips. Normally his CD productions are at the same time uploaded as live performance video clips into the artist's Youtube(r) channel: mokonsar.

by: Todd H. Allen

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