Really "modern" Works By Franz Liszt, About Solo Piano, From The Turkish Born Belgian Artist

Probably the most innovative and creative pianists and composers of the 19th century

, Franz Liszt was known for using lovely masterpieces of music through literature. Some criticized him with regard to his boldness although his works continue to be many of the most beautiful works inside classical music today.

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 magical, inspiring swiftness and also precision characterizes the "Lisztian" octaves. Nevertheless, they don't seem to be dried up nor mechanized in Okonsar's playing.

In Okonsar's performance the the majority of "flamboyant" groups of octaves which in turn are frequently done as outbursts of a machine-gun, change into orchestral in sound. This really is simply because that the multi-faceted music artist Okonsar uses the extra attempt to accomplish them virtually "legato" and they sound similar to the Violins One as well as Two of an orchestral ensemble.

Sets of chords also wear a "legato" and also an orchestral sound. The Belgian artist Mehmet Okonsar produces that by sustaining them just as much as one can do, unlike many other pianists who punch them and depart for the pedal to boost the sound. The particular impact of Weissenberg's playing is apparent there. Hands are just about "sliding" over the keyboard they do not raise and strike.

The particular continuity and even the actual sense of coherence is without question original inside Okonsar's performances. The creations completed bring form in addition to occur for a well elaborated tale. This is the result of a a real loyalty towards the composer's evidences as well as it is inherited from the terrific music artists, the Belgian artist Mehmet Okonsar obtained the actual advantage of studying with. They are Alexis Weissenberg, Jean Claude Vanden Eynden and also to some extent Eduardo del Pueyo.

There's no unneeded touch at the hands of Okonsar. Every spin is precisely prepared to reach the key within a method to trigger the mechanics guiding it with regard to the wanted sound. Fingertips are relaxed as well as they expand essentially at view. The Belgian pianist from Istanbul, Okonsar's fingers really don't imitate a playing "apparatus" it's possible to virtually experience the actual extension in addition to the incredible flexibility.

One generally essential aspect for the purpose of the particular success and even power connected with transmission with regard to any pianist, or simply any kind of musician in particular, is certainly the range of dynamic power. Exactly how well it is actually utilised is another matter, yet, with a small range that does definitely not make any difference certainly. The dynamic array for the purpose of a piano player, means how far is definitely the actual most sublime "pianissimo" from the smashing "fortissimo" is really a major point inside the particular connection power of the performer.

Pianists, like all music performer or singer by the way, are usually split up within a couple of different types. The ones along with perhaps the most common dynamic range as well as others along with a tremendous palette of sound which works along with virtually virtually every instrument.

Pedal is under no circumstances utilized to disguise defects. With Okonsar, pedaling is usually occasionally within limits of the harmonic blur, having said that, this really is purposely and it gets immediately proven. For example: the prolonged recitatives or even the incredibly exclusive sound effects inquired by Franz Liszt (i.e. the 3rd. Hungarian Rhapsody the place that the left hand performs a melody inside the extreme low register in fact it is indicated by using a stretched pedal sustain) or within the particularly prominent passage of the "Tempest" Sonata (op.31 number:2) by Beethoven, where a stretched sustained pedal is actually evidently indicated by the composer to offer the passage its specific sound, are consistently performed. Additionally in parts without having pedal, the actual playing is certainly not dry.

The performance of those two Legendes are typically visionary. The particular "communicating with the birds", inside the first one, is simply my favorite. Okonsar, composer, conductor and musicologist in addition to pianist re-creates each of the particular complex sonorities demanded. The prophet's voice is really warm and delicate while the "birds" get throughout virtually in a three dimensional sound space.

A gentle light and flowing touch characterizes the interpretation associated with the "Jeux d'eaux" (The Fountains of the Villa d'Este). "A la maniere de Ravel" Mehmet Okonsar displays a suitable crystalline touch with great precision and transparency.

The actual bonus tracks worth a visit on the artist's official webpage. Generously offered there, the two "Threnodies" (Cypres de la Villa d'Este) with the actual number two paraphrasing the main Tristan starting theme by Wagner are typically incredible pieces. They are typically interpreted along with an in-depth sensibility by Okonsar.

Mehmet Okonsar was born in Istanbul (Turkey) and resided in Paris for the duration of his first instruction. He started studying piano in the National Conservatory of Ankara, with Nimet Karatekin and Necil Kazim Akses.

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

For the duration of this era of clash who was the 70's in Turkey, Okonsar connected on both friendly and professional basis with a pianist and conductor, ex-student of Pierre Sancan. Via this friendship he mastered the fundamentals of the keyboard principles of Pierre Sancan who was the teacher of pianists like Michel Beroff and the student of Yves Nat.

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

The piano studies of Okonsar ended with all the highest honors any student may 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 found the advantage of working with one of the greatest composers of Belgium: Madame Jacqueline Fontyn. He also studied with a scholar of Messiaen, Claude Ballif. In 1989 he gets his degrees in Composition-Orchestration from the Royal Conservatory of Music of Brussels.

One afternoon telephone rang and a lady dialing from Switzerland asked him. Alexis Weissenberg, a pianist Okonsar venerated in addition to nearly worshiped, wanted him to study with in Switzerland. Funds was short but the master made available Okonsar a full scholarship. One can witness in all performances by Okonsar how deeply Weissenberg had an effect on him.

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

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

He has crafted an awesome presence on the Web, running a number of web pages, weblogs as well as publishing companies.

He is the actual producer of his personal records and books.

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

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

However his genuine leaping board were definitely in Utah, the 6th prize at the "Gina Bachauer International Piano Competition", 1991.

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

He has recently been a visitor judge at the National Piano Competition of Japan within the auspices of the P.T.N.A. ("Piano Teachers National Association").

His studies on music and also technological innovation were given in a lecture at the Yamaha head office in Hamamatsu, Japan.

His repertoire includes an assortment from the early seventeenth century ("The Fitzwilliam Virginal Book") including composers, amongst others, Orlando Gibbons and Giles Farnaby and also extends to late 20.th century with all the works by Karlheinz Stockhausen and Witold Lutoslawski.

Noteworthy works in this particular repertoire are: J.S. Bach "The Art of Fugue" executed on organ (or piano) and also harpsichord; the Goldberg Variations, the integrale of Well-tempered Keyboard.

Mehmet Okonsar is actually one adept of the actual "Free Music" attitude. Each of his downloads happen to be shared from the very third party musician and performer. This is a clean mindset that, regarding to the particular musician is going to be of big profit to equally the particular artist, the main launch and the actual classical music world.

Furthermore the number one digital video site Youtube(r) shows a several the Belgian artist Mehmet Okonsar's piano playing online videos. Normally his Compact disk releases are on the other hand uploaded as live performance video clips into the artist's Youtube(r) channel: mokonsar.

by: Rosemary J. Cordero

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