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subject: Together With Okonsar On The Problem Of Classical Music [print this page]


I definitely feel lucky to live within an epoch at which one can find nearly every kind of music at one's fingertips, online.

As my own assortment of music grows up, I can't help getting progressively more distressed with the corporate, large scale, big-buck advertised products. In just about every single aspect, public performance creativity, deficiency of strong conception and powerful artistry they virtually all started to look similar to me. Slowly but surely I transformed with regard to independent musicians and artists who distribute their work independently over the Internet. Coming together with lots of non-professional and even childish publications I managed to find out brilliant things.

Mehmet Okonsar is the contrary of a good stock pianist, never doing together with those few excrescences in a style that seem part that belong to the stock-in-trade of most of the virtuosos today. But nonetheless, you can't take liberties with those pieces he performs. His album "Liszt-Modern", different from the Hungarian Rhapsodies style of Liszt music, with that queer little "Bagatelle Without Tonality" or the wonderful "Two Legends", many of them somehow naive in addition to a lot of them are rather strong.

Another one of his own production line: LMO-Records is "Schumann Fantasie". Presenting the Fantasie in C opus 13 and the Symphonic Etudes opus 17. That too makes clear the fact that such a musician happens to be never content with paraphrases-type of playing and cheap arrangements. This is unfortunately commonplace throughout our time of "popular classics" everywhere.

The pianist Okonsar's choice is to include the five additional variation into the Symphonic Etudes at the end of the cycle. Creator of authentic taste in the playing of other men's music, he chose to not "disrupt" the plot associated with the Etudes as imagined by the composer, and yet to not miss the wonderful pieces discovered after Schumann's death through Johannes Brahms.

The true essence that belong to the the majority of romantic piano style is without a doubt in operation here. His humble, delicate style makes me hope to hear from him throughout a number of other styles of piano music.

Handful of men do two jobs equally well, and also the executant, so steeped inside other people's music, is really in danger of serving up bits of all sorts when he tries to compose. So it is undoubtedly not the case here. The piano tone is without a doubt fairly good and up to the finest standards.

In the past years there were soloist-conductors just like Busch, Fischer, Cortot and composer-conductors like Bernstein, Markevitch, Klemperer, Furtwangler, Weingartner, Mahler, all of whom had some thing really particular to present as interpreters of others' music. They contributed with a powerful and strong knowledge of the works that is certainly lacking in the simply re-creative performer.

Okonsar is a musician whose prominence as a pianist has been unquestioned since his triumphant appearance on the international landscape during the early 1980s, yet his standing up as a composer in addition to conductor has become step by step climbing and it has now achieved valued degree.

Mehmet Okonsar is unquestionably regarded as one of the most essential musicians of his generation and also is commonly referred to as a leading interpreter of the works of Beethoven, Brahms, Mozart and Schubert. Since winning the sixth prize at the prestigious Gina Bachauer Competition (1991) Mr. Okonsar has consistently performed as soloist and recitalist within the musical capitals and major festivals of Europe and also the United States and Japan.

An additional rejuvenating part of Mehmet Okonsar's playing is its directness, its naturalness, which occurs specially in his selection of tempos. Mehmet Okonsar will have absolutely nothing to do with any kind of accepted behaviour; however one has the particular perception that they have never so much as impinged on him, instead than that, he has considered all tempo choices after which he purposely decided to overthrow many of them.

by: Rosemary J. Cordero




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