"liszt-modern", Colorations, On The Solo Piano, Cd By Through The Pianist And Composer Okonsar

Well known with regard to his symphonic tone poems

, Hungarian rhapsodies, plus a apparently a countless stream of piano music (which includes an ultra-popular pair of piano concertos), Franz Liszt is already known to have spent the last twelve years of his lifetime perfecting the large oratorio about the life of Poland's patron: Saint Stanislaus, who had been martyred in 1079. Merely the foremost and fourth scenes were ever completed, however.

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 thrilling, provoking speed capacity as well as exactness characterizes the particular "Lisztian" octaves. On the other hand, they don't seem to be dried up neither mechanized in Okonsar's playing.

In the Turkish born Belgian pianist's performance the most "flashy" groups of octaves that are generally completed as outbursts of a machine-gun, develop into orchestral in sound. This is exactly for the reason that Okonsar requires any additional hard work to perform them pretty much "legato" and they sound like the Violins One as well as Two of an orchestral ensemble.

Sets of chords at the same time wear a "legato" in addition to an orchestral sound. The Belgian artist Mehmet Okonsar produces that by sustaining them as much as one can possibly do, contrasting a number of other pianists who hit them and abandon for the pedal to extend the sound. The effect of Weissenberg's playing is clear there. Hands are nearly "sliding" over the keyboard they do not heighten and punch.

The particular continuity and even the actual feeling of coherence is in fact unusual throughout Mehmet Okonsar's performances. The works done carry design and also unfold like a properly elaborated history. This happens to be caused by an accurate loyalty towards the composer's hints in addition to it happens to be handed down in the great musicians and artists, Mehmet Okonsar received the particular advantage of studying with. They are usually Alexis Weissenberg, Jean Claude Vanden Eynden and also to some extent Eduardo del Pueyo.

There's really no extraneous touch at the hands of Mehmet Okonsar. Virtually every step is strictly slated to achieve the key throughout a manner to stimulate the mechanics driving it for the purpose of the required sound. Hands and fingers are peaceful and also they expand pretty much at glance. Okonsar's fingers really do not replicate a playing "apparatus" you can pretty much see the particular extension and the spectacular flexibility.

One very important aspect with regard to the particular effectiveness and even power associated with communication for the purpose of any pianist, or maybe every musician in particular, is actually the range of dynamic power. Exactly how well it is simply utilized is one other purpose, but then along with a modest array that does not make a difference needless to say. The dynamic variety for the purpose of a pianist, means how far is definitely the particular most stylish "pianissimo" from the breaking "fortissimo" is really a major point within the actual communication power associated with the musician and performer.

Pianists, as with music performer or vocalist by the way, are segregated straight into a couple of classes. The ones along with a typical dynamic range and the others with a brilliant palette of sound which works along with almost every single instrument.

Pedal is in no way used to hide blemishes. With Okonsar, pedaling is often sometimes at the limits of the harmonic blur, even so, this is exactly on purpose and it becomes quickly proven. For example: the lengthy recitatives or really special sound effects required by Franz Liszt (i.e. the 3rd. Hungarian Rhapsody where the left hand has a melody inside the extreme low register and it's also depicted by using an elongated pedal sustain) or inside the particularly well known passage of the "Tempest" Sonata (op.31 number:2) by Beethoven, in which a extended sustained pedal is actually evidently pointed by the composer to provide the particular passage its incomparable sound, are faithfully performed. Additionally inside parts without pedal, the particular playing is certainly not dry.

The piano playing of those two Legendes are really visionary. The particular "talking with the birds", in the first, is definitely my favorite. Mehmet Okonsar re-creates every one of the ornate sonorities inquired. The prophet's voice is in fact warming and delicate while the "birds" get throughout almost within a three dimensional sound space.

A lighter and liquid touch characterizes the playing of the "Jeux d'eaux" (The Fountains of the Villa d'Este). "A la maniere de Ravel" Okonsar, composer, conductor and musicologist in addition to pianist showcases some sort of crystalline touching along with significant accuracy and also lucidity.

The actual bonus tracks really worth a visit along at the artist's official Internet site. Generously offered there, the two "Threnodies" (Cypres de la Villa d'Este) with the particular number two paraphrasing the Tristan opening theme by Wagner are usually delightful pieces. They are typically interpreted together with an in-depth feeling by Okonsar.

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" among East and West is really the main factor 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 stated that all his "real" musical education had been supplied in Belgium.

Franz Liszt for Mehmet Okonsar is certainly not a teen passion for pianistic exuberance and keyboard "pyro-technie". The education Okonsar received at the Brussels Royal Conservatory, through Jean-Claude Vanden Eynden, who himself acquired through Eduardo del Pueyo is in reality a direct heir of the Hungarian master. That emanates from the career of Marie Jaell, a learner of Franz Liszt on that virtually all the technique of Eduardo del Pueyo is in fact created.

During this era involving uncertainty who was the 70s in Turkey, Okonsar linked on both friendly as well as professional basis with a pianist and conductor, ex-student of Pierre Sancan. Via this companionship he figured out basic principles of the keyboard concepts of Pierre Sancan who was the teacher of pianists like Michel Beroff and the student of Yves Nat.

His first crucial recital happened in 1979. The program included Preludes by Messiaen and the Pictures of an Exhibition by Mussorgsky.

The piano studies of Okonsar ended with all the top 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 end of his piano studies, Okonsar received the actual opportunity of working with one of the biggest composers of Belgium: Madame Jacqueline Fontyn. He also studied with a student of Messiaen, Claude Ballif. In 1989 he receives his certifications in Composition-Orchestration from the Royal Conservatory of Music of Brussels.

One afternoon the phone rang and a lady dialing from Switzerland inquired him. Alexis Weissenberg, a pianist Okonsar venerated as well as nearly worshiped, wanted him to study with in Switzerland. Cash seemed to be short though 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.

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

Okonsar works currently through Turkey on a hectic agenda concertizing, composing, writing and teaching. He owns and also handles a CD label exclusive to his own recordings, LMO-Records, as well as a publishing enterprise "inventor-musicae."

Mehmet Okonsar's international career commenced having the first prize at the International Young Virtuoses Competition of Antwerp in 1982. His orchestral debut was the third Concerto by Rachmaninoff performed at the "de Singel" Concert Hall in Antwerp, Belgium. His additional prizes are: Paris, 1989, "J. S. Bach" at the Salle Gaveau: 2nd prize; 1990, Rome, Association Chopin "Premio Etruria": 1st prize; and 1991, United States, Utah, the 6th prize at the "Gina Bachauer International Piano Competition".

His known concerts incorporated the premiere in Turkey of the Concerto for piano by Schoenberg with his fantastic performances of the Concerto for piano by Lutoslawski in Poland.

His researches on music and also technological innovation had been offered in a lecture at the Yamaha headquarters in Hamamatsu, Japan.

Okonsar has performed recitals offering the total piano works by Arnold Schoenberg, Alban Berg and Anton Webern. In spite of he refuses all type of "musical specialization", his repertoire is actually to a great extent on the "modern" side with Igor Stravinsky "Three Movements of Petrouchka" the "Sequenza" for the piano by Luciano Berio and also the Klavierstucke by Karlheinz Stockhausen.

The Turkish born Belgian artist is definitely a powerful adept of the main "Free Music" school of thought. Virtually all his mp3s happen to be shared according to the entire self-sufficient artist. This is undoubtedly an important innovative state of mind which, regarding to the composer might be of immense returns to equally the entire artist, the entire release in addition to the actual classical music community.

Likewise most of the number one video portal Youtube(r) shows a numbers of Mehmet Okonsar performances at the piano videos. Frequently his Disc productions are concurrently submitted as live performance video clips into the artist's Youtube(r) channel: mokonsar.

by: Anthony B. Summers

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