Ferenc Liszt On Piano As A Precursor Of Modernity

The wonderful Hungarian composer, Franz Liszt is usually more often than not simply thought of as being a superb piano virtuoso or perhaps as the composer who authored simply just for that instrument.

It may be very mistaken to do this, because Liszt have also been profoundly effective in the orchestral area, being the particular creator of the symphonic poem, which has been to attain perfection along with Richard Strauss.

Liszt also created a couple of programme symphonies: "Faust" after Goethe and "Dante" following the wonderful Italian poet's outstanding work.

The tracks presented in the CD "Liszt-Modern" by Mehmet Okonsar are: "Fantasie und Fuge uber das Thema B-A-C-H"; "Variationen uber das Motiv von Bach ("Weinen, Klagen, Sorgen, Zagen")"; the two "Legendes"; "Les Jeux d'Eaux a la Villa d'Este", the famous Bagatelle Without Tonality and the two "Csardas" "Macabre" and "Obstine". Additionally, the artist Mehmet Okonsar offers in his official website the two "Threnodies" (from the third year of the "Annees de Pelerinages")

A mesmerizing, impressive speed capacity and also accuracy and precision characterizes the particular "Lisztian" octaves. However, they are not dry neither mechanical in Okonsar's playing.

In Mehmet Okonsar's performance the the majority of "fancy" rounds of octaves that are routinely conducted as upheavals of a machine-gun, turn into orchestral in sound. This is exactly because of the reason that the pianist and composer Okonsar needs the extra effort to do all of them pretty much "legato" and they sound just like Violins One and Two of an orchestral ensemble.

Sets of chords additionally have a "legato" as well as an orchestral sound. Mehmet Okonsar produces that by grasping them nearly as much as one can do, not like a number of other pianists who punch them and depart for the pedal to improve the sound. The impact of Weissenberg's playing is obvious there. Hands are just about "sliding" over the keyboard they do not bump up and hit.

The particular continuity and even the actual sense of coherence is undoubtedly uncommon throughout Okonsar's performances. The creations executed bring shape and even unfold as being a perfectly elaborated story. This is without a doubt the result of a an authentic loyalty for the composer's clues in addition to it is simply learned through the good performers, Okonsar acquired the particular privilege of studying with. They are really Alexis Weissenberg, Jean Claude Vanden Eynden and even partially Eduardo del Pueyo.

There is no unwarranted motion at the hands of Okonsar. Almost every spin is precisely prepared to arrive at the key in a means to activate the mechanics at the rear of it for the purpose of the required sound. Palms are relaxed and they extend virtually at eyesight. The Turkish born Belgian pianist's hands and fingers really don't imitate a playing "piece of equipment" it's possible to virtually observe the extension and also the spectacular flexibility.

One generally essential aspect for the purpose of the actual performance and also power associated with transmission for virtually any pianist, or some times every musician at large, is without question the range of dynamic power. Exactly how effectively it is really put into use is an additional factor, then again together with a small range that does not matter certainly. The dynamic array with regard to a pianist, means how far is in fact the actual most stylish "pianissimo" from the busting "fortissimo" is really a major point throughout the particular communication power associated with the performer.

Everyone understands that an excellent singing voice has got a lot of power without any ever pressuring it. Every nuance will come the natural way nearly easily. The same goes accurate for the purpose of pianists. Any nuance have got to come every bit as without difficulty from a great pianist's fingers. This is exactly the case with Mehmet Okonsar.

Pedal is by no means used to hide imperfections. With Okonsar, pedaling is usually oftentimes at the confines of the harmonic blur, on the other hand, this is often purposely and it becomes right away clear. For example: the extended recitatives or even the very unique sound effects required by Franz Liszt (i.e. the 3rd. Hungarian Rhapsody where the left hand has a melody within the extreme low register in fact it is mentioned by using an elongated pedal sustain) or within the particularly renowned passage of the "Tempest" Sonata (op.31 number:2) by Beethoven, the place where a extended sustained pedal is obviously advised by the composer to grant the particular passage its incomparable sound, are consistently performed. Also within parts without pedal, the playing is never dry.

The performances at the piano of those two Legendes are visionary. The particular "speaking with the birds", throughout the first one, is definitely my favorite. The Belgian artist Mehmet Okonsar re-creates every one of the particular intricate sonorities expected. The prophet's voice is definitely tender and smooth while the "birds" get inside almost inside a three dimensional sound space.

The actual late pieces in this amazing cd are usually the two Csardas. They could be believed of as being the latest Hungarian Rhapsodies. Now we have here every one of the initial Bartok in a musical language which moreover outshines the Bagatelle Without Tonality also in this valuable recording.

The particular bonus tracks well worth a visit at the artist's established webpage. Generously offered there, the two "Threnodies" (Cypres de la Villa d'Este) with the number two paraphrasing the main Tristan beginning theme by Wagner are typically awesome pieces. They are interpreted together with an in-depth feeling by the Belgian artist Mehmet Okonsar.

Mehmet Okonsar was born in Istanbul (Turkey) and lived in Paris throughout his initial education. He began studying piano at the National Conservatory of Ankara, with Nimet Karatekin and Necil Kazim Akses.

Following about a year and half studying at the Ankara Conservatory, the Okonsar family moved to Belgium where Mehmet joined the course of Jean-Claude Vanden Eynden at the Brussels Royal Conservatory of Music.

Throughout this period associated with chaos who had been the 1970's in Turkey, Okonsar connected on both friendly and professional basis with a pianist and conductor, ex-student of Pierre Sancan. Coming from this specific friendly relationship he figured out basic principles of the keyboard concepts of Pierre Sancan who was the teacher of pianists like Michel Beroff and the student of Yves Nat.

Even at his initial public appearance in 1979, the particular eclecticism of his recital programs in the future may be witnessed. He presented a collection of the Preludes by Messiaen among others.

The piano studies of Okonsar finished with all the best honors any student can certainly 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 end of his piano studies, Okonsar acquired the opportunity of working with one of the primary composers of Belgium: Madame Jacqueline Fontyn. He also studied with a student of Messiaen, Claude Ballif. In 1989 he gets his diplomas in Composition-Orchestration from the Royal Conservatory of Music of Brussels.

One afternoon the phone rang and a lady phoning from Switzerland requested him. Alexis Weissenberg, a pianist Okonsar venerated and also virtually worshiped, wanted him to study with in Switzerland. Cash was short however the master presented Okonsar a whole grant. One can witness in all performances by Okonsar how deeply Weissenberg had an effect on him.

Right after to become a Belgian national, Mehmet Okonsar and his wife Lale, artist went back to Turkey following an invitation from the President Suleyman Demirel who offered him the particular most sought-after title of "State Artist of the Turkish Republic".

"Working from Turkey is just not hopeless in our times, thanks to the Internet" claims the pianist. It is valid that he's in particular at ease while using computer systems and has a really effective presence on the Internet.

Okonsar is very active from Turkey where he performs, practice, create and writes. He operates a CD company along with a publishing house.

A first prize at the International Young Virtuoses Competition of Antwerp in 1982, ended up being the beginning of his worldwide career.

Always programming essentially the most tough pieces, Okonsar's orchestral debut has been the 3 rd Concerto by Rachmaninoff performed at the de Singel Concert Hall in Antwerp.

Yet his true leaping board has been in Utah, the sixth prize at the "Gina Bachauer International Piano Competition", 1991.

The "Academie des Arts Contemporains" of Enghien, Belgium rewarded him in 1991, for his acoustic and electronic compositions with the Gold and Bronze medals respectively.

Occasionally he endorses the position of a judge in particular piano contests including the National Piano Competition of Japan under the auspices of the P.T.N.A. ("Piano Teachers National Association").

The composer, conductor and musicologist as well as pianist Okonsar is without a doubt an adept of the "Free Music" philosophy. All his releases are usually shared by the the particular autonomous creator. This is without a doubt a good solid cool mindset which, according to the particular artist is going to be of enormous returns to both the main artist, the launch and also the very classical music scene.

Likewise most of the primary video sharing site Youtube(r) carries a quantity of Okonsar performance music videos. Often his Compact disk publications are in addition submitted as live recorded videos into the artist's Youtube(r) channel: mokonsar.