subject: A New Schumann Cd By Mehmet Okonsar [print this page] The value of the pianist and composer Mehmet Okonsar's contribution on this Fantasie op.17 by Robert Schumann, inside the plethora of existing recordings need not be emphasized; it is actually too seldom that we get these first-hand accounts by the recording musicians and artists that belong to the music they interpret for us, and also of what they have been trying to do with it.
When one listens to the Fantasie by Schumann as played by Okonsar, it is worth to bear in mind the history associated with the form. The first significant group of Fantasies of this kind had been the music of British composers that belong to the sixteenth and seventieth centuries, from Byrd to Gibbons.
The themes by Robert Schumann, at times, became quite elaborate, though the composers of Fantasies of Baroque and early-baroque times (who were mostly keyboardists) never dreamt of a development between the various themes. When the Romantic composers took over the musical form, the positions used to be changed radically. The Fantasies became a sort of sonatas yet freer in their elaboration. This is definitely obvious throughout, for instance at Chopin's F minor Fantasie. However, Robert Schumann took it to its most lengthy form.
When we listen to the recording of The Belgian artist Mehmet Okonsar, we have an artist who is really musician first and performer afterwards. All problems of balance, in addition to structure have been carefully imagined out, all is undoubtedly well served by a clear recorded audio. The result is without question rather brilliant. So accustomed are we to the predominance of the instrumental virtuosity alone that we are surprised how the musicality comes out in such a natural and also un-forced manner.
It may be that the process has been carried so far the Fantasie seems almost an "easy" piece throughout. But I feel quite certain that this interpretation is certainly far nearer to Schumann's intentions than the standard conception of a brilliant piano piece, and even, I venture to consider that a glance at the music score and also a moment or two's consideration of the musical issues involved, will persuade sensitive listeners to agree with me.
The Fantasie of Schumann stands, throughout the pianistic production of the composer, between the opus 13 (The Symphonic Etudes) and other shorter pieces.
The first part is in fact within the typical sonata form. It begins with an exposition introducing us to various ideas, then follows the development of those ideas, and finally their recapitulation, the whole thing being positioned around a fantastic "Legende" which in turn has to be played, according to the composer, with a "legend-tone". Schumann seems to have directed how the exposition should be performed together with extreme passion.
The energetic and fast second part of the Schumann Fantasie op.17 (throughout in E flat) opens along with largest arpeggiated chords and also proceeds with a ordinary Schumann-type, dense polyphonic piano writing. Several interlude parts introduce quiet reveries in this rather cavaliering movement. Yet, nothing within Okonsar's playing turns that to a "military" kind of dry and harsh performance as it is oftentimes seen elsewhere. The drearily "coda" along with its famous "jumps" is definitely executed with the extreme precision and bravoura.
The following last movement, a long, intense melodic part, notable with regard to the two large "crescendi" bringing the two apexes is carried out along with great sensibility. The duo melodies, so common in Schumann's opus are typically made truly to "speak" with each other. After it we go the greatly emotive "coda" and the closing large arpeggios are played in a intense and dramatic approach.
Even at his earliest public appearance of 1979, the particular eclecticism later associated together with the pianist and composer Mehmet Okonsar's recital programs could be witnessed. He offered a collection of the Preludes by Messiaen among others in his first public appearance.
Alexis Weissenberg, just after listening to a recording invited him (on a scholarship grant) to study with in Switzerland.
Okonsar agreed to the Belgian citizenship in 1992 however, concurrently the President Suleyman Demirel of Turkey honored him with the title "State Artist of the Turkish Republic". Consequently Okonsar settled in Turkey together with his spouse Lale, painter.
"Performing from Turkey just isn't hopeless within our days" suggests the pianist. It holds true the fact that he is specially secure using the computers and also has nowadays an exceptionally potent reputation on the Internet. The Belgian artist Mehmet Okonsar is without a doubt incredibly dynamic from Ankara wherein he performs, practice, compose and moreover writes. He runs a Disc company and also a publishing house.
The multi-faceted music artist Okonsar is a published author throughout various music linked magazines in Turkey and throughout the website site he created: inventor-musicae dot com. He released within a Turkish periodical on classical music, fabricated interviews called "interviews with Mephisto" in regards to the subject of the worldwide decadence within the quality of classical music. His additional topics are basically concerning musical music composition, analysis, music history. The multi-faceted music artist Okonsar publishes in English as well as French.
Presented inside this CD are no-less exacting "Symphonic Etudes", complete with the posthumous five additional variations, this release is simply a must-have for the purpose of romantic piano repertoire collectors.
