subject: The Chopin Etudes Opus 10 And 25 Complete By Mehmet Okonsar [print this page] The well-known Etudes by Chopin have been recorded in Turkey with Mehmet Okonsar.
The genius of Chopin knows of no boundaries nor nationalities; he speaks his own language independent of all the grammars of the world, provided that those who play him will give him his due. And yet there is in the performance on this LMO-Records release, a certain "something" which makes it stand a little apart from the majority of Chopin recordings we have had. To describe this "something" is difficult, but everybody will understand me when I say that it has got in it the spirit of Chopin's Poland.
The famous "revolutionary" is played with power and conviction, the tempo is totally effective and the dramatic passages of the "Etude" are vivid without being over-emphasized. The clarity of the left-hand is never obscured by the furious themes. The significance of this performance lies not in any technical or other superiority, but in the fact that it is a good sensitive performance.
Okonsar's recording of Chopin "Etudes" are also published on DVD. Mr. Okonsar kindly informs me that he has been directing the videography all along, and I think I understand now how truly in a musically sensible way the various camera angles were set.
With his usual firm but pleasant style, Mehmet Okonsar has recorded lately many titles and interesting compilations on his own label: LMO-Records. He is well served by a neat technical installation, all of his own. Okonsar has published recently "Liszt-Modern", a compilation of the most modern pieces by Franz Liszt and the "Fantasie in C" coupled with the "Etudes Symphoniques" by Robert Schumann. However the upcoming releases are all announced in audio-visual forms: as CD and DVD's.
LMO-Records have issued in the past a series of Bach albums including the "Goldberg Variations", on piano and the "Art of Fugue" on (sampled) organ by Mehmet Okonsar. Those are printed with CD-ROM sections with notes and related graphics. As this joint CD and DVD publications idea progresses, it becomes more evident that here will be reference items of the very highest degree for the students.
Anybody wanting to look behind the scenes, to be shown what stuff masterpieces are made of, and "how it is done," can get no better opportunity to do so than by studying these most thoroughly considered albums. He will learn, not only all the chief points about Chopin's Etudes, but also about composition in general, and how the creative artist conceives his ideas, and, what is far more important, how he uses them. I believe that, lay or professional, pianist or singer, everybody interested would feel very grateful for the information received in this way. I believe, too, that their warmest thanks would go to Mehmet Okonsar.
His notes, presented as video interviews are wonderful. Watch any of them thoroughly, then listen to the recording, and then watch the talk over again, and it will be found that the writer, first opens the ear and the mind for what is to come, and afterwards, the same few words will give an explanation -and a complete explanation- of what took place.
Between the lines of the apparently dry and didactic analysis hides the deep understanding of a learned enthusiast, and after reading them one knows both how and why this music came into being.
In my opinion Okonsar's playing of the Chopin Etudes should soon be regarded as another reference CD after Pollini's. It seems as if he to some extent has set out to do the same thing as the latter. Mehmet Okonsar explains more than he performs. But clearer and more neatly made demonstrations that cannot be imagined.
It adds undoubtedly to the educational value of the publication; more shallow performances would have created a totally different sort of work which may be would have been welcomed by a greater number of people, but as it stands we have a somewhat academic but extremely useful edition of the most classic of all Etudes for those who understand how to deal with it.
As a most interesting parallel to the above, according to Mehmet Okonsar's personal revelations to me, has to come a Liszt Etudes (complete series) recording. So often has Okonsar been pointed out as a virtuoso, the technical wizard, master of the keyboard and what not, that it will come as a most refreshing surprise to hear him play all Liszt Etudes with the profoundest artistry apart from his usual brilliance.
Mehmet Okonsar was born in Istanbul (Turkey) and lived in Paris while in his earliest education. He began studying piano in the National Conservatory of Ankara. On account of the vibrant resources the Ankara Conservatory then held and also the "Mediatheque" of the Centre Culturel Francais d'Ankara, he grew up studying the music of Pierre Boulez, Edgar Varese, Olivier Messiaen and Pierre Schaeffer, composers which would have a powerful affect on him.
Nearly nobody, in the classical music circles or outside, has learned a French lady of the name Marie Jaell. She was such an fascinating figure in the history of piano playing. The first time in history, an individual decided to think about and research "exactly how to play the piano most efficiently". That thinking as well as investigation would have been needless as well as vain if Mrs. Jaell didn't had in front of her, nearly everyday to review in every factor, one of the, or perhaps the very best of all pianists: Franz Liszt. Being among the master's "students" alongside figures like Hans von Bulow as well as others, Marie Jaell did not aimed at a concert career. She wished to bring out what makes Liszt's playing distinctive. She authored several books and those were analyzed by Eduardo del Pueyo in Paris over the thirties. That same del Pueyo then trained Jean Claude Vanden Eynden who subsequently have been the particular trainer of Mehmet Okonsar.
Mehmet Okonsar international career began with the 1st prize at the International Young Virtuoses Competition of Antwerp in 1982. His orchestral debut was the third Concerto by Rachmaninoff executed at the deSingel Concert Hall in Antwerp. His other prizes are: Paris, 1989, "J. S. Bach" at the Salle Gaveau: 2nd prize; 1990, Rome, Association Chopin "Premio Etruria": first prize; and 1991, United States, Utah, the sixth prize at the "Gina Bachauer International Piano Competition".
Okonsar is a published author in several music linked newspapers in Turkey and in the blog site website he created: inventor-musicae. He published in a Turkish periodical on classical music, imaginary interviews with "Mephisto" with reference to the worldwide decadence with the quality of classical music. His additional subject areas are mainly regarding musical composition, analysis, music history. Okonsar publishes in English as well as French.
"In reality I do not reside in Ankara but in the Internet" says Okonsar. He's got put together a wonderful presence over the World wide web, operating many web sites, weblogs and publishing companies. He's the actual maker of his own records and books.
Mehmet Okonsar wouldn't be happy if he offered "only" hearing happiness. He attempts to reflect on the modern society he lives inside.
