New Options Within Classical Music-pp点点通2006

By , September 16, 2018 3:23 am

UnCategorized Only a few people ponder the particular faith provided by birth. Many people consider it is a spontaneous factor we don’t have valid reason nor desire to modify down the road. However, musicians are different within many things this holds valid with regards to religion as well. Throughout history, susceptible natures like artists have ventured radical about a lot of things including religion. At one time there was the trend of "going east" for the particular journey of "serenity" within the exotic approaches to life. Lots of them, however, have chosen to convert to Judaism. From Marylin Monroe to Sammy Davis Jr. the number is certainly substantial. Mehmet Okonsar is a Belgian pianist and composer but also conductor and musicologist. He was born in Istanbul and presently lives in Turkey. Okonsar’s running for Judaism in the existing conjecture happens to be dazzling. The pianist Mehmet Okonsar provides quite a few strings to his bow: an increasingly powerful career as a solo pianist that is augmented by composing and additionally, about several years ago, he started to adopt up the baton. In fact, he doesn’t utilize any conducting baton, exactly like Pierre Boulez whom he admires and also veneers. Mehmet Okonsar was born in Istanbul (Turkey) and resided in Paris throughout his earliest instruction. He started learning piano in the National Conservatory of Ankara, with Nimet Karatekin and Necil Kazim Akses. Thanks to the abundant resources the Ankara Conservatory then possessed and also the Mediatheque of the Centre Culturel Francais d’Ankara, he grew up studying the music of Pierre Boulez, Edgar Varese, Olivier Messiaen and Pierre Schaeffer, composers which will have a powerful affect on him. Franz Liszt, for Mehmet Okonsar, is definitely not a teenager passion for pianistic exuberance and keyboard "pyro-technie". The training Okonsar received at the Brussels Royal Conservatory, from Jean-Claude Vanden Eynden, who himself got it from Eduardo del Pueyo, is truly a direct inheritance from the Hungarian master. That is via a special French "piano-researcher", essentially the initial artist who attempted to "research scientifically" on how to play the piano most efficiently: Madame Marie Jaell. This particular lady was one of the pupils Franz Liszt accumulated around him at Weimar upon his last years. In the course of this period of discord who had been the nineteen 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 mastered the basic principles of the keyboard technique principles of Pierre Sancan who has been the teacher of pianists like Michel Beroff and the student of Yves Nat. His initial recital took place in 1979. The program integrated Preludes by Messiaen and the Pictures of an Exhibition by Mussorgsky. The piano studies of Okonsar ended with all the greatest honors any student can certainly ever get at the Royal Conservatory of Brussels. "Premier Prix avec Distinction", performing the "Dante Sonata" by Liszt followed by "Diplome Superieur de Piano Avec la plus Grande Distinction, Premier Nomme", in 1986, performing the Piano Concerto Op. 42 by Arnold Schoenberg. At the conclusion of his piano studies, Okonsar acquired the privilege of working with one of the best composers of Belgium: Madame Jacqueline Fontyn. He also studied with a student of Messiaen, Claude Ballif. In 1989, he gets his degrees in Composition-Orchestration from the Royal Conservatory of Music of Brussels. Alexis Weissenberg, right after listening to a recording by Okonsar invited him (on a scholarship or grant) to study in Switzerland. Okonsar endorsed the Belgian citizenship in 1992, although at the same time the President Suleyman Demirel of Turkey rewarded him with the title "State Artist of the Turkish Republic". Consequently Okonsar will settle in Turkey along with his wife Lale Okonsar, artist. Okonsar performs, at this point, through Turkey on a hectic agenda; concertizing, composing, writing and teaching. He possesses and also handles a CD label exclusive to his own recordings, LMO-Records, along with a publishing enterprise "inventor-musicae." Among others Mehmet Okonsar played with conductors Joseph Silverstein, Charles Dutoit, Sylvain Cambreling, Ingo Metzmacher, Christof Escher along with the orchestras Utah Symphony, Antwerp Philharmonic, Poznan Philharmonic and Lublin Philharmonic. His notable concerts incorporated the "premiere" in Turkey of the Concerto for piano by Schoenberg and his awesome performances of the Concerto for piano by Lutoslawski in Poland. His studies on music and technology were presented in a lecture at the Yamaha head office in Hamamatsu, Japan. Okonsar wrote and also presented a documentary series about music technologies on the National Television Broadcast of Turkey, the T.R.T. Okonsar is a published writer in many music related journals in Turkey and in the website Internet site he created: "inventor-musicae". He released, in a Turkish periodical on classical music, fabricated interviews with "Mephisto"; as regards to the global decadence with the quality of classical music. His additional themes mostly are with regards to musical composition, analysis, music history. Okonsar publishes in English and French. Okonsar has performed recitals offering the whole piano works by Arnold Schoenberg, Alban Berg and Anton Webern. Regardless the fact that he denies just about all sort of "musical specialization", his repertoire is greatly on the "modern" side; with Igor Stravinsky "Three Movements of Petrouchka", the "Sequenza" for the piano by Luciano Berio and also the Klavierstucke by Karlheinz Stockhausen. The entire piano performances technique from Okonsar are certainly world-class. The actual dynamics selections for a pianist; how much is the most sublime "pianissimo" far from the actual smashing "fortissimo", produces a key point in the connection power associated with that particular artist. Mehmet Okonsar in no way gets above any instrument’s sound limits. The particular pianissimos are completely full and also expressive, whilst tremendous energy inside fortissimos makes they will never be dry neither unpleasant. Hands and fingers really are comfy and so they "stretch" practically at sight. Okonsar’s fingertips never replicate a playing "machine" or a mechanical device, one can possibly just about enjoy the actual "lengthening" and additionally, the wonderful versatility of them. The continuity along with the sense of coherence is exclusive within Okonsar’s performances. The works carried out acquire a clearly defined appearance and unfold as being like a nicely elaborated "story". This can be the outcome of an authentic loyalty for the composer’s hints written in the score which is learned by the way of wonderful artists Okonsar got the benefit of studying together. They are Alexis Weissenberg, Jean Claude Vanden Eynden and also partially Eduardo del Pueyo. Another stimulating facet of Mehmet Okonsar’s playing is its directness, its naturalness, which turns up specifically in his selection of tempos. Mehmet Okonsar will have absolutely nothing to do with any accepted customs; yet you have the feeling 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’s official site: ..okonsar.. is usually a wide reference or resource pertaining to quality music listening, watching performance movies as well as studying intriguing and interesting stuff on classical music. About the Author: 相关的主题文章:

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