The Most Modern Pieces By Franz Liszt: "liszt-modern"
Mehmet Okonsar plays Liszt's Fantasie and Fugue on B.A.C.H
. and Two Legends.
His delicacy and poise are well employed in all works of the CD: "Liszt-Modern", and the tone in each piece shows how far piano and keyboard technique has gone. All selections are extremely difficult pieces to record finely. The fading of notes that should be sustained may be the piano's fault, of course (magnified by the recording) not the player's. The performance is noteworthy. I can hardly imagine still richer tone and this is excellent to go on with.
On the CD, Okonsar plays some "modern" pieces by Liszt and he describes, in his own editorial, that he considers Franz Liszt as a "modern" composer all through. I do not know if there are to be notes on these, like the meaty ones Mr. Okonsar did for some earlier Bach recordings. I am afraid it is not wise for the large CD companies to employ so much what one may call their staff pianists. However, Okonsar is a self-published artist and he seems fully decided to use that fredom to the maximum extend.
The right man for each job is worth getting, and we ought to demand him. Some players record better than others in particular works; some, as we well know, are all right in most romantic music, and poorish in classics; some shine in Liszt and fizzle in Franck. Okonsar's line is certainly subtlety and intelligence; and there is no more in those Liszt pieces than might be thought, from their slight appearance and the impression that many of them make at first hearing.
Okonsar's reading is not obvious neither ordinary, all the qualities and brillance of the pieces are revealed. Okonsar pushes out a note here and there but never without sufficient reason. He has the finest poise in any mid-age generation of living pianists. Mehmet Okonsar's rubato is always very effective and never conventional. There is a big deal of pleasure in his tone, though some bar-bell notes intervene among the pure strings, in this recording.
There are so much agreeable and even felicitous touches and that confirms the fact that Liszt, we have discovered in his true value may be only recently, needs the supreme artist-performer, if perhaps he turns out to be one who does not interpret other music half so well.
Okonsar is the contrary of a good stock player, never performing with those few excrescences in a style that seem part of the stock-in-trade of most of the virtuosos today. But you can't take liberties with those pieces by Liszt, unlike the Hungarian Rhapsodies, least of all with these queer little "Bagatelle without tonality" or the beautiful "Legends", some of them very naive and some rather deep. The verdict, then is: good in all parts.
Another his LMO-Record is "Schumann Fantasie", presenting the "Fantasie in C" and the "Symphonic Etudes." That too makes it clear that such an artist is never content with paraphrase and cheap brio arrangements, commonplace in our time of "popular classics" everywhere. The true essence of the most deep romantic piano stle is in operation here. His unassuming, delicate style makes me hope to him in many other styles of piano music.
Mehmet Okonsar's choice is to include the five additional variation sto the Symphonic Etudes at the end of the cycle. Artist of real taste in the performance of other men's music, he chose to not "disrupt" the plot of the Etudes as imagined by the composer, and yet to not miss the beautiful pieces discovered after Schumann's death by Johannes Brahms.
Few men do two jobs equally well, and the executant, so steeped in other people's music, is always in danger of serving up bits of all sorts when he tries to compose. So it is here. The music is negligible. The piano tone is fairly good, but not up to the finest standards.
The Belgian pianist (but additionally composer, conductor and musicologist) Mehmet Okonsar was born within the "bridge-city" of Istanbul. Actually this idea of a "bridge" among East and West is actually the key point in asserting the different 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 generally maintained that all his "real" musical education has been provided in Belgium.
His initial significant recital happened in 1979. The program incorporated Preludes by Messiaen and also the Pictures of an Exhibition by Mussorgsky.
Soon after about a year and half learning at the Ankara Conservatory, the Okonsar family moved to Belgium where Mehmet joined the school of Jean-Claude Vanden Eynden at the Brussels Royal Conservatory of Music. Vanden Eynden, who will completely re-shape the keyboard technique of Okonsar, is actually a devoted follower of the style of Eduardo del Pueyo. The keyboard technique of Eduardo del Pueyo as well as Jean-Claude Vanden Eynden, his instructor, is founded on the work of Marie Jaell, a pupil of Franz Liszt.
by: Jose L. Brophy
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