Liszt But Not The One You Are Used To: "liszt-modern" By Okonsar

Liszt But Not The One You Are Used To: "liszt-modern" By Okonsar

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One of the most revolutionary and creative pianists and also composers of the 19th century, Franz Liszt was in fact noted for taking lovely masterpieces of music from literature. Many criticized him with regard to his boldness although his works keep on being many of the most wonderful works within classical music these days.

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 magical, impressive speed and also exactness characterizes the actual "Lisztian" octaves. Even so, they aren't dried out neither mechanized in Okonsar's playing.

In Mehmet Okonsar's playing the vast majority of "flashy" batches of octaves which in turn are typically conducted as upheavals of a machine-gun, change into orchestral in sound. That is due to the fact that Mehmet Okonsar requires any additional work to carry out them just about "legato" and they sound just like the Violins One and Two of an orchestral ensemble.

Sets of chords at the same time have a "legato" as well as an orchestral sound. Okonsar creates that by carrying them just as much as one can possibly do, contrasting a great many other pianists who attack them and leave for the pedal to improve the sound. The affect of Weissenberg's playing is obvious there. Hands are just about "sliding" over the keyboard they do not raise and hit.

The actual continuity and also the actual feeling of coherence is definitely incomparable in Mehmet Okonsar's performances. The creations performed bring form as well as unfold for a properly elaborated history. This is without a doubt the consequence of a real commitment towards composer's hints and it is actually handed down from your excellent music artists, the pianist and composer Okonsar experienced the advantage of studying with. These people are usually Alexis Weissenberg, Jean Claude Vanden Eynden and even partly Eduardo del Pueyo.

There's no unwarranted motion at the hands of Mehmet Okonsar. Just about every approach is strictly thought out to arrive at the key within a style to stimulate the mechanics lurking behind it for the required sound. Hands and fingers are peaceful and even they lengthen nearly at view. The Belgian pianist from Istanbul, Okonsar's hands and fingers really don't copy a playing "piece of equipment" you can virtually experience the particular extension as well as the amazing flexibility.

One most important factor for the actual success and power of communication for the purpose of just about any pianist, or maybe any kind of musician at large, is undoubtedly the plethora of dynamic power. Precisely how perfectly it is simply put into use is another point, but nevertheless, together with a modest range that does not really make a difference certainly. The dynamic variety for the purpose of a piano player, means how far is actually the particular most stylish "pianissimo" from the smashing "fortissimo" is really a major point throughout the connection power associated with the musician and performer.

Everyone understands the fact that a great singing voice is bound to have a lot of power without having ever forcing it. Every nuance is available easily pretty much without effort. Well the same accurate for the purpose of pianists. Nearly every nuance should definitely come similarly easily from a high quality pianist's fingers. This is exactly the case with Mehmet Okonsar.

Pedal is never utilized to hide flaws. With Okonsar, pedaling might be sometimes in conjunction with the confines of the harmonic blur, nonetheless, this is on purpose and it gets quickly proven. For example: the extended recitatives or very exclusive sound effects requested by Franz Liszt (i.e. the 3rd. Hungarian Rhapsody the place that the left hand performs a melody inside extreme low register in fact it is depicted with an extensive pedal sustain) or in the particularly famous passage of the "Tempest" Sonata (op.31 number:2) by Beethoven, the place where a long sustained pedal is evidently advised by the composer to present the particular passage its incomparable sound, are faithfully performed. Additionally in parts without pedal, the actual playing is under no circumstances dry.

The piano playing of those two Legendes are typically visionary. The "communicating with the birds", inside the first one, is my personal favorite. The Belgian artist Mehmet Okonsar re-creates each of the involved sonorities wanted. The prophet's voice is in fact inviting and gentle while the "birds" get in just about in a three dimensional sound space.

The actual late pieces inside this valuable cd publication are the two Csardas. They can indeed be believed of as being the latest Hungarian Rhapsodies. We've here every bit of the first Bartok within a musical language which besides that outperforms the Bagatelle Without Tonality also inside this particular release.

The actual bonus tracks seriously worth a visit at the artist's recognized Internet main page. Generously offered there, the two "Threnodies" (Cypres de la Villa d'Este) with the number two paraphrasing the actual Tristan starting theme by Wagner are wonderful pieces. They are usually interpreted together with a deep feeling by the pianist and composer Okonsar.

Mehmet Okonsar was born in Istanbul (Turkey) and lived in Paris for the duration of his primary instruction. He started mastering piano at the National Conservatory of Ankara, with Nimet Karatekin and Necil Kazim Akses.

It is in the today renowned European capital city of Belgium that Mehmet Okonsar essentially gained almost all, he states "completely all", musical knowledge.

The piano studies of Okonsar finished with all the maximum honors any student may ever get at the Royal Conservatory of Brussels. "Premier Prix avec Distinction", performing the "Dante Sonata" by Liszt then "Diplome Superieur de Piano Avec la plus Grande Distinction, Premier Nomme", in 1986, performing the Piano Concerto Op. 42 by Arnold Schoenberg.

Always longing for learning a lot more, Okonsar went after that still at the Brussels Conservatory, on Composition and Orchestration classes and once again he had the very best professors available: Madame Jacqueline Fontyn the principal Belgian composer and sporadically he likewise studied with a student of Messiaen, Claude Ballif.

One afternoon the phone rang and a lady dialing from Switzerland asked him. Alexis Weissenberg, a pianist Okonsar venerated in addition to pretty much worshiped, desired him to study with in Switzerland. Cash had been short though the master offered Okonsar a total scholarship. One can witness in all performances by Okonsar how deeply Weissenberg had an effect on him.

"Actually I usually do not live in Turkey but in the Internet" says Okonsar.

He's got crafted an incredible reputation over the World wide web, running numerous web sites, blogs as well as publishing organizations.
He's the maker of his personal records and books.

A first prize at the International Young Virtuoses Competition of Antwerp in 1982, was basically the start of his intercontinental career.

Generally programming probably the most difficult pieces, Okonsar's orchestral debut had been the 3 rd Concerto by Rachmaninoff performed at the de Singel Concert Hall in Antwerp.

However his real jumping board have been in Utah, the 6th prize at the "Gina Bachauer International Piano Competition", 1991.

His experimental activities did not get not noticed either, the "Academie des Arts Contemporains" of Enghien, Belgium presented him together with both Gold and Bronze medals for his acoustic as well as electro-acoustic compositions.

His noted concerts integrated the premiere in Turkey of the Concerto for piano by Schoenberg and his performances of the Concerto for piano by Lutoslawski in Poland.

Working frequently on technological things, as he remarks "the technology might actually "totally free" the artist", his researches have been offered in a lecture at the Yamaha head office in Hamamatsu, Japan.

Okonsar has executed recitals displaying the total piano works by Arnold Schoenberg, Alban Berg and Anton Webern. Even though he refuses many type of "musical specialization", his repertoire is actually greatly on the "modern" side with Igor Stravinsky "Three Movements of Petrouchka" the "Sequenza" for the piano by Luciano Berio and the Klavierstucke by Karlheinz Stockhausen.

Okonsar, composer, conductor and musicologist in addition to pianist is a powerful adept of the actual "Free Music" approach. Every bit of his discs are typically shared by way of most of the self-sufficient artist. This is undoubtedly a good fresh new attitude which in turn, regarding to the creator might be of enormous returns to both the actual artist, the actual release and the very classical music sphere.

Additionally most of the leading video site Youtube(r) carries a range of the multi-faceted music artist Okonsar's piano playing video clips. Ordinarily his CD publications are additionally submitted as video recordings into the artist's Youtube(r) channel: mokonsar.

About the Author:
Rosemary Cordero was born in a truly musical family. She started learning piano at seven and since then practices daily. Owning an exhaustive collection of recorded music which includes valuable rarities, from 78rpm original historic discs to our days mp3's she is a fan of J. S. Bach and of Mehmet Okonsar as well as Mehmet Okonsar's Youtube(r) channel: mokonsar



Article Originally Published On: http://www.articlesnatch.com


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