Remembrances From A Great International Piano Competition
The Gina Bachauer International Piano competition
, held every four years in the "seniors" classification, at Salt Lake City, Utah, is certainly among the very finest ones in the classical music scene.
A number of specifics of that particular piano competition causes it to become so excellent. For instance the program executed by the players are actually free choice. Contrary to most other piano contests, we do not have here the familiar requests like "one prelude fugue from J. S. Bach" or "(a number) of "Etudes by F. Chopin".
Most of these requests are more to the point for Conservatory or Music School examinations or student concerts. However, at this point, we have a very genuine display of proficient musicians and artists who are supposed jump right into the international music picture.
This distinctive piano competition, contrary to many others in the field, displays a magnificent array of jury members. For the most part, the decision makers are "real" performing artists, not piano educators.
Okonsar, composer, conductor and musicologist in addition to pianist, was one of those laureates who, despite a "mere" sixth prize awarded at the actual competition, generated a lasting impression and dived towards the international scene right after the contest. Selected performances from different rounds of the Competition are published in a Compact disk release.
The works featured in the CD are: Alexander Scriabin, Sonata N.9 op.68 "Black Mass"; Gabriel Faure, Nocturne N.6 in D flat Major op.63; Wolfgang Amadeus Mozart Fantasy in D minor K.397; Jean-Philippe Rameau Selections from harpsichord pieces; Franz Liszt Dante Sonata and "Funerailles".
The technique at the keyboard is incredibly fine-shaped. That is certainly, the end result of a life-long practice, applying the finest technical precepts Okonsar received through his illustrious professors. There isn't any uncertain or simply mannered expression. Every little thing acts towards an accurately recognized musical mean.
There isn't any unnecessary motion at the hands of Mehmet Okonsar. Any transition is strictly prepared to reach the key in a method to trigger the mechanics behind it for the specified sound. Palms are comfortable and they stretch out nearly at sight. Okonsar's hands and fingers do not replicate a "playing machine", the incredible flexibility is visible to the naked eye.
The Fantasy in D minor, K.397 by W. A. Mozart presented in this particular disc happens to be peculiar in several aspects.The playing is amazingly slow. More or less "a la Glenn Gould", the main melody develops here with a very unique fascination, almost hypnotizing. Several people might say "too much romantic", however I suppose this is definitely a very interesting reading of that piece.
Irrespective of how shockingly strange the particular Mozart performance is, one has got the strong sense that every little thing here is actually thought very deeply and once the original hearing shock is over and the piece reaches its conclusion, it will become evident how the artist, as always, mindfully constructed every specifics of the performance.
Alexander Scriabin (1872-1915) was a Russian composer as well as pianist who actually created the first lights and shades (colours) keyboard and notation for the purpose of "Synesthetic" shades. His symphony "Prometheus: The Poem of Fire" (1910) was the very first music in history which integrated notation for lighting fixtures and coloring materials.
Scriabin's large-scale public concerts throughout Moscow and New York were originally the very first live shows ever, along with equipment and lighting in addition to colors competed on a colour keyboard and projected to the particular beat and harmonic language associated with his musical works. Therefore they preceded current day Rock Music live shows.
This specific version of the so-called "Black Mass" sonata, number 9 op.68 by Alexander Scriabin is undoubtedly one of most magnificent ones ever recorded.
Right there is such a number of highlights as well as shades in this unique playing. The true heart and soul connected with Scriabin's composition come out together with a powerful feeling of structural continuity.
Pedal is never utilized to cover flaws in the playing. With Mehmet Okonsar, pedaling could be sometimes within the boundaries of the harmonic blur, even so, this is always evidently on purpose.
The prolonged atmospheric effects or even the incredible special sound effects called for by Alexander Scriabin (for example the "visionary" introduction motive as well as the "crystal drops" of the wide arpeggiated accompaniment figures) happen to be perfectly rendered by Okonsar. He does it by producing elongated and sustained half and also full pedals who give the sections their particular colors as pointed out by the composer. Even in parts without any pedal the playing is in no way dried out.
The particular trills are "visionary moving sounds" as well as the particular most exacting climax is completed with extreme exactitude.
The Belgian pianist (but also composer, conductor and musicologist) Mehmet Okonsar was born in the "bridge-city" of Istanbul. Actually this idea of a "bridge" between East and West is really the key point in asserting the exceptional position of this artist within the international classical music stage. Despite the fact that having started his education at Ankara, at the National Conservatory of this city created by Paul Hindemith, he frequently said that all his "real" musical education was initially supplied in Belgium.
During this period of chaos who was the seventies in Turkey, Okonsar linked on both friendly and professional basis with a pianist and conductor, ex-student of Pierre Sancan. Via this particular companionship he discovered the basic principles of the keyboard guidelines of Pierre Sancan who was the teacher of pianists like Michel Beroff and the student of Yves Nat.
At the end of his piano studies, Okonsar acquired the opportunity of working with one of the greatest composers of Belgium: Madame Jacqueline Fontyn. He furthermore studied with a pupil of Messiaen, Claude Ballif. In 1989 he receives his diplomas in Composition-Orchestration from the Royal Conservatory of Music of Brussels.
One afternoon the phone rang and a lady calling from Switzerland asked him. Alexis Weissenberg, a pianist Okonsar venerated as well as almost worshiped, wished him to study with in Switzerland. Money seemed to be short however the master made available Okonsar a complete scholarship or grant. One can witness in all performances by Okonsar how deeply Weissenberg had an effect on him.
Soon after being a Belgian national, Mehmet Okonsar and his spouse Lale, painter went back to Turkey following an invitation from the President Suleyman Demirel who presented him the particular most sought-after title of "State Artist of the Turkish Republic".
Okonsar is very dynamic from Turkey where he performs, practice, create and writes. He operates a CD company along with a publishing house.
Mehmet Okonsar's global career started having the first prize at the International Young Virtuoses Competition of Antwerp in 1982. His orchestral debut was the 3rd Concerto by Rachmaninoff performed at the "de Singel" Concert Hall in Antwerp, Belgium. His other prizes are: Paris, 1989, "J. S. Bach" at the Salle Gaveau: second prize; 1990, Rome, Association Chopin "Premio Etruria": 1st prize; and 1991, United States, Utah, the sixth prize at the "Gina Bachauer International Piano Competition".
He has been recently a guest judge at the National Piano Competition of Japan within the auspices of the P.T.N.A. ("Piano Teachers National Association").
His repertoire includes a variety from the early seventeenth century ("The Fitzwilliam Virginal Book") which includes amongst others, Orlando Gibbons and Giles Farnaby and extends to late twentieth century with all the works by Karlheinz Stockhausen and Witold Lutoslawski.
Well known works within this repertoire are: J.S. Bach "The Art of Fugue" carried out on organ (or piano) and also harpsichord; the Goldberg Variations, the integrale of Well-tempered Keyboard.
Similarly the particular leading video sharing site Youtube(r) incorporates a selection of Mehmet Okonsar piano playing clips. Oftentimes his Compact disk publications are on the other hand published as video recordings into the artist's Youtube(r) channel: mokonsar.
by: Jose L. Brophy
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