subject: The Particular World Regarding Counterpoint "the Art Of Fugue" [print this page] J. S. Bach may be "amusing through" music, but he had been usually "serious about" music.
His guide appeared to be constantly Martin Luther. He sensed it a opportunity to serve God by the composing music, educating music, conducting choirs, and organizing worship services.
At the particular point in time, music competed a real prime role within making the actual life of everyday everyone tolerable, pleasing, along with happy, as well as The "Kappelmeister" competed one crucial part of that role. Bach lived through quite a few difficulties since he adhered to the Scriptures, whilst others could have also benefited from doing the actual same.
While commenting on the Art of The Fugue by Johann Sebastian Bach with Bruno Monsaingeon, Gould talks about the particular later works by Bach certainly not in any elementary aesthetic terminology, but as being a constantly increasing worlds of hues of gray, or even colorless contrapuntal textures. Gould was initially quoting Albert Schweitzer on the primary fugue on the set, nonetheless felt this explanation is likewise apt for the ultimate fugue of the series. In a 1959 filmed meeting, either in "Glenn Gould: Off the Record" and also "Glenn Gould: On the Record", Gould had additionally lamented the conclusion of the "common practice" period of time. He highlighted his particular point of view by using a thought test, arguing that a kid grown by means of exclusively atonal music is likely to sooner or later show a unique interest in tonality.
After a wide variety of very careful interpretations which are produced on records in recent times, I had pretty much unconsidered what a creatively stimulating master work the Art of Fugue is definitely. Okonsar' CD is probably the most gratifying performances of the main The greatest series of Fugues ever composed with the organ I have heard
Mehmet Okonsar was born in Istanbul (Turkey) and lived in Paris while in his first education. He began mastering piano in the National Conservatory of Ankara, with Nimet Karatekin and Necil Kazim Akses.
It is in the currently famous European capital city of Belgium that Mehmet Okonsar truly acquired just about all, he says "absolutely all", musical training.
For the duration of this period associated with chaos who was the seventies in Turkey, Okonsar connected on both friendly and professional basis with a pianist and conductor, ex-student of Pierre Sancan. Through this specific companionship he discovered basic principles of the keyboard guidelines of Pierre Sancan who was the teacher of pianists like Michel Beroff and the student of Yves Nat.
His initial important recital happened in 1979. The program incorporated Preludes by Messiaen and the Pictures of an Exhibition by Mussorgsky.
The piano studies of Okonsar finished with the greatest honors any student may ever get at the Royal Conservatory of Brussels. "Premier Prix avec Distinction", performing the "Dante Sonata" by Liszt as well as "Diplome Superieur de Piano Avec la plus Grande Distinction, Premier Nomme", in 1986, executing the Piano Concerto Op. 42 by Arnold Schoenberg.
At the conclusion of his piano studies, Okonsar had the actual opportunity of working with one of the biggest composers of Belgium: Madame Jacqueline Fontyn. He additionally studied with a pupil of Messiaen, Claude Ballif. In 1989 he gets his diplomas in Composition-Orchestration from the Royal Conservatory of Music of Brussels.
Alexis Weissenberg, just after listening to a recording by Okonsar invited him (on a scholarship or grant) to study in Switzerland.
Soon after being 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 actual most sought-after title of "State Artist of the Turkish Republic".
"Performing from Turkey just isn't out of the question in our days" says the pianist.
It is true that he is specifically secure using the computers and has now an exceptionally solid presence on the Internet.
Okonsar is extremely effective from Turkey where he performs, practice, compose and also writes. He operates a CD company and a publishing house.
Mehmet Okonsar's global career began 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 other prizes are: Paris, 1989, "J. S. Bach" at the Salle Gaveau: second prize; 1990, Rome, Association Chopin "Premio Etruria": first prize; and 1991, United States, Utah, the sixth prize at the "Gina Bachauer International Piano Competition".
At times he endorses the position of a judge in certain piano contests including the National Piano Competition of Japan in the auspices of the P.T.N.A. ("Piano Teachers National Association").
His studies on music and modern technology have been exposed in a lecture at the Yamaha headquarters in Hamamatsu, Japan.
His repertoire includes a range from the early seventeenth century ("The Fitzwilliam Virginal Book") which includes composers, amongst others, Orlando Gibbons and Giles Farnaby and reaches late 20.th century with all the works by Karlheinz Stockhausen as well as Witold Lutoslawski.
Notable works within this repertoire are: J.S. Bach "The Art of Fugue" carried out on organ (or piano) and harpsichord; the Goldberg Variations, the integrale of Well-tempered Keyboard.
It is certainly quicker, possibly, to stress the very appeal of Bach's The very BWV 1080 within prose rather than to locate it in piano playing. Okonsar, composer, conductor and musicologist in addition to pianist succeeds throughout both, effectively avoiding the entire completely scholarly reading through which in turn can each of too many times characterize interpretations of the very performer-scholar.
He is bound to have a real mature knowledge of most of the complexity of the entire work, together with he happens to be subsequently ready to highlight the very magnificence of Bach's designs and to get out what is simply each of too oftentimes missing: the very beauty of the music.
There end up being, naturally, details as well as perspectives with that listeners will certainly not be within total agreement. But for me, this album is without a doubt of appealing interest; a real particularly abundant mixture of clever imagining, effective practical musicianship as well as an capacity to show aural beauty via a good understanding of the shape in addition to proportions which give the very contrapuntal masterpiece of Bach its graphic beauty.
Exemplary presentation, successful recorded sound together with silent pressings barely will improve a good solid high-quality achievement.
Mehmet Okonsar is without a doubt a strong adept of the main "Free Music" ideological background. All his discs are really shared by the the particular independently owned artist. This is definitely a fabulous exciting frame of mind that, regarding to the artist will be of huge returns to both the very artist, the launch as well as the very classical music field.
Additionally the main leading video portal Youtube(r) displays range of Mehmet Okonsar performance online videos. Often his Compact disk releases are on the other hand uploaded as video recordings into the artist's Youtube(r) channel: mokonsar.
