An Advanced Tactic To Classical Music By Okonsar

Everybody is familiar with the fact that now there is actually basically no scarcity of pianists.. Nearly all of these people usually are great to pretty high quality.

The aged trail for classical music sector is certainly intensely crowded and numerous of these people are usually frantically making an attempt to discover a niche. .One of them is undoubtedly planning on a really distinctive trail.

Clear effort upon the Internet is actually the particular track decided on by Mehmet Okonsar, a Turkish born Belgian pianist, composer, conductor and musicologist.

In the last years there have been soloist-conductors similar to Busch, Fischer, Cortot and composer-conductors similar to Bernstein, Markevitch, Klemperer, Furtwangler, Weingartner, Mahler, all of whom had some thing quite special to present as interpreters of others' music. These people brought a good insight that could be lacking in the simply re-creative musician.

Alexis Weissenberg, immediately after listening to a recording by Okonsar invited him (on a scholarship or grant) to study in Switzerland.

Okonsar accepted the Belgian citizenship in 1992, but at the same time the President Suleyman Demirel of Turkey recognized him with the title "State Artist of the Turkish Republic". For that reason Okonsar will settle in Turkey along with his wife Lale Okonsar, painter.

"Functioning from Turkey is not out of the question within our times" says the pianist. It is true that he's especially secure while using the computer systems and possesses an extremely strong profile on the Internet. Okonsar is very dynamic from Ankara where he performs, exercise, create and writes. He operates a CD company and a publishing house.

Mehmet Okonsar's worldwide career started with the first prize at the International Young Virtuoses Competition of Antwerp in 1982. His orchestral debut was the 3rd Concerto by Rachmaninoff executed at the de Singel Concert Hall in Antwerp. His other prizes are: Paris, 1989, "J. S. Bach" at the Salle Gaveau: second prize; 1990, Rome, Association Chopin "Premio Etruria": 1st prize; and 1991, United States, Utah, the sixth prize at the "Gina Bachauer International Piano Competition".

His studies on music and technology had been given in a lecture at the Yamaha head office in Hamamatsu, Japan. Okonsar wrote and offered a documentary series about music technologies on the National Television Broadcast of Turkey, the T.R.T.

Okonsar is a published author in a number of music related magazines in Turkey and in the website Internet site he created: "inventor-musicae". He published in a Turkish periodical on classical music, imaginary interviews with "Mephisto" with reference to the global decadence on the quality of classical music. His many other themes are mostly regarding musical composition, analysis, music history. Okonsar publishes in English and French.

The keyboard technique is fine-oiled as well as exactly tuned. A very long time straight self-discipline is noticed all over his different touch. Not any unneeded expressions, everything is sniper-accurate. The work is created utilizing architect's preciseness.

The dynamic array for the pianist, precisely how far is the most sublime pianissimo from the actual smashing fortissimo creates a significant point in the connection power of the artist.

There isn't any not required gesture at the hands of Okonsar. Pretty much every move is strictly organized to touch the key in ways to trigger the actual mechanics behind it for that desired sound.

The continuity and the sense of coherence is exclusive within Okonsar's performances. The works conducted take clearly defined appearance and unfold to be a very well like a nicely elaborated "story". This can be a result of a genuine faithfulness to the composer's signs written in the score and it's also learned from the superb artists Okonsar had the opportunity of studying with. They are Alexis Weissenberg, Jean Claude Vanden Eynden and also partially Eduardo del Pueyo.

One mesmerizing, dazzling pace and correctness characterizes the "Lisztian" octaves. Even so, they don't seem to be arid neither mechanical. In Okonsar's playing essentially the most "showy" sets of octaves which are often carried out as outbursts of a machine-gun, become orchestral in sound. This is simply because that Okonsar takes any additional effort to execute them nearly legato and they seem like the Violins One and Two of an orchestral ensemble. Sets of chords additionally wear a legato as well as orchestral sound. Okonsar produces that by holding all of them just as much as it's possible to do, as opposed to a number of other pianists who hit them and then leave for the pedal to supply the actual sound. The particular have an effect on of Weissenberg's playing is apparent there. Hand are practically "slipping" over the keyboard they don't get high above and hit.

Pedal is under no circumstances utilized to disguise flaws. With Okonsar, pedaling may be often within limits of the harmonic blur, nevertheless this really is purposely and it becomes right away proven. For example: the extended recitatives or the incredibly individual sound effects inquired by Franz Liszt (i.e. the 3rd. Hungarian Rhapsody in which the left hand plays a melody in the extreme low register and it is depicted with a long pedal sustain) or inside the renowned passage of the "Tempest" Sonata (op.31 number:2) by Beethoven, in which a extensive sustained pedal is evidently advised by the composer to give the particular passage its unique sound, are consistently rendered. Even in parts without having pedal, the particular playing is certainly not dry.

An additional rejuvenating facet of Mehmet Okonsar's playing is its directness its naturalness, that appears specifically in his personal choice of tempos. Mehmet Okonsar will have nothing to do with any kind of approved customs; yet you've got the impression the tempos selected are established and that he has thought about every possible choice after which he purposely decided to pick his and overthrow others.

Okonsar is just not involved with popular success. His compositions, well served through his enormous musical and general knowledge background are generally fearlessly exploratory. He generally stated his particular contempt for several present-day composers looking for "a way to unite" popular liking with contemporary music creation. People may find it over-intellectualized, Okonsar wants to follow on the trails of the structuralist "ecole" associated with Pierre Boulez and Iannis Xenakis.

"The condition is tough pertaining to youthful artists..." Okonsar says "who sadly are probably not asked to explore in addition to sense the age most of us are now living in, to understand that music of a different if generally hard expressions, like contemporary art-music may be in the same way satisfying as great works of history."

"It is true I am uncomfortable in what may well generally be referred to as "neo-romanticism", nevertheless it is unfaithful that I loathe Rachmaninoff. In common with many younger pianists I raised within the influence of Horowitz playing the Third Concerto [by Rachmaninoff] even now I continue to be satisfied to savor listening to it instead as performing it myself."