This is the presentation audio for the release of the Audio CD: Schumann: the "Intègrale" by David Ezra Okonsar, 
Volume VII: Kreisleriana, Op. 16 and Fantasie in C Major, Op. 17
The Audio CD and full quality mp3 downloads are available at amazon.com and most mp3 distribution portals.

Kreisleriana, op.16

Kater Murr (The Cat Murr), is one of the most intriguing literary work of the German romanticism by the novelist E. Th. A. Hoffmann. This is where the character Kreisler, the mad Kappelmeister, who impressed Schumann that much, appears first.

While the young Brahms will use the pseudonym "Kreisler Junior" for some of his early works, Schumann saw, in the enigmatic character of Kreisler, one Ludwig Böhner, an obscure and ambitious composer of his time. However, the Kreisler as Schumann imagined, could have only composed a music as dark, whimsical and amazingly audacious as those eight fantasies which make for the opus 16.

This cycle, one of the summits of the musical romanticism and one the highest masterworks of the composer, was composed in 1838. This particular year, 1838, was indeed one of the miracle years of the composer with the creation of the Sonata in F minor (Concerto without Orchestra), the Sonata in G minor, the Novelettes and the Kinderscenen.

Robert Schumann Complete Works For The Piano VOL.VII

Kreisleriana, Op. 16: VII. Sehr rasch

The ricercar is a musical composition that emerged during the late Renaissance and predominantly in the early Baroque period. The term "ricercar" originates from the Italian verb "ricercare," which signifies the act of searching or seeking. Many ricercars serve a preludial role by seeking out the key or mode of a following musical composition.

The series of pieces for piano and (processed) vocals by Okonsar displays a unique blend of contemporary and experimental elements. The main pitches are from the theme given to J. S. Bach for him to improvise fugue by Frederick II on May 7, 1747; called "Thema Regium."
 
The vocal parts are digitally processed phrases for added texture and complexity. Combining piano and digitally processed tracks creates a unique and dynamic sound, combining traditional elements with modern technology.

X. Through Ancient Sagas (Rirecar's: 14 Pieces for Piano and Processed Vocals)

01 Restful Haven

02 Unanswered Longing

04 Golden Vision

10 Love's Mourning

09 Fading Fields

08 Sorcery’s Lament

05 Eternal Shepherd

06 Mythic Song

Space Curvature Resonances, Piano and Modified Pianos: I. Prelude to Curvature

Space Curvature Resonances, Piano and Modified Pianos: VI. Phantom Corridors

It is possible that the D minor Sonata has been drafted before the preceding opus 31.N.1 in G major, probably between the end of 1801 and the first months of 1802. It surely reflects more accurately the state of mind of the composer at those difficult times as the Testament of Heiligenstadt, dated 1802, testifies.

According to Carl Czerny, the Allegro of the first movement is inspired by the gallop of a horse heard by Beethoven through his window at the end of the summer 1802. Even though the movement actually reminds the allure of a horse, more of a trotting than a gallop, one should, nevertheless, take those assumptions with extreme care. However, it is known that the composer replied to Schindler who questioned him about the significance of the work "read the Tempest by Shakespeare". He said the same about the Sonata "Appassionata" too.

This is certainly not a "programme-music". Following his wish to "go to new directions", to reshape the Sonata form according to the expressibility of the musical discourse, specially the first movement has many audacious innovations.

L. van Beethoven Piano Sonata N.17 op.31-2 in D Major - Tempest I Largo - Allegro

Sonata N.8 in C minor op.13 "Pathetique" "Pathétique" "Pathetic"

The title "Pathetique" (or "Pathétique", "Pathetic") while not given by Beethoven himself, was agreed and even used by the composer referring to this famous composition.

The Sonata was composed in the years 1798 and 99 and published by Eder in Vienna as "Grande sonate pathétique pour le clavecin ou piano-forte composée et dédiée a son Altesse Monseigneur le Prince Karl von Lichnowsky."

This very popular work is the summit of Beethoven's piano works composed up to 1800. It is also the second time the composer uses the key of C minor which is very evocative for him. He will be using that key once more, only at the ultimate Sonata N.32, opus 111.

Also characteristic in this Sonata is the slow beginning "Grave". Far from being a "prelude" it is, to quote César Franck, "the cyclical entity (cell) which will project on the whole composition." Even though the idea of a slow introduction has been used before, Beethoven gives to it such a dramatic power that no listener can remain unaffected.

Right after its publication, the "Pathétique sonate" became an immense success.

I. Grave - Allegro di molto e con brio

The three notes: C - D - E-flat following the  "forte-piano", C minor chord and forging this introduction's theme will also appear as the core of the theme of the final Rondo. It is repeated with variations all through the introduction with an orchestral scoring.

The fortissimo chords roughly interrupting the melodic evolution set the stage for the drama.

A glissando-like chromatic down scale projects into the Allegro di molto e con brio which is made of two themes.

The first is an almost straight raising scale of C minor harmonized on each note and presented over a timpani-like, tremolo, left hand part. The other is also a minor key theme with incisive "mordents" which can hardly be called "embellishments". The term "mordant" (biting) if taken literally best describes those "ornaments".

The ending of the movement which re-uses the introductory elements of the Grave, but the powerful forte-piano chords now replaced with silences is a dramatic climax which plunges again into the first Allegro theme and concludes with a brusque coda.

II. Andante cantabile

The second movement is a gracious "lied" with a number of distinct intermediary parts. The theme's specific contour is very close to the Adagio theme of Mozart's K 457 C minor sonata.

All through the movement, the left hand seems to positively hold back the right hand from going to higher keyboard ranges. Even in the serene A-flat major key and with the use of the warm middle keyboard range with a beautifully balanced melodic contour, the second movement delivers only a partial relief within the overall tragic atmosphere of the entire Sonata.

III. Rondo: Allegro

The very gracious theme of the Rondo, seems to float over a dramatic landscape. Dark and tumultuous sections, sharp and incisive fortissimo chords intervene in each section. Only the second couplet, a "fugato" theme with perfect fourth intervals, seems to soothe the dramatic discourse which soon takes over in an even more boisterous way.

Beethoven Complete Piano Sonatas VOL.3

Beethoven Complete Piano Sonatas VOL.3; Sonata op.13 "Pathetique" III

Beethoven Complete Piano Sonatas VOL.3; Sonata op.13 "Pathetique" II

Beethoven Complete Piano Sonatas VOL.3; Sonata op.13 "Pathetique" I

Carl Philipp Emanuel Bach (1714–1788)
Württemberg Sonata N.1 in A minor (Wq.49/1 - H.30)
1 Moderato [5:10]
2 Andante [4:39]
3 Allegro assai [3:59]

Württemberg Sonata N.6 in B minor (Wq.49/6 - H.36)
4 Moderato [6:05]
5 Adagio non molto [4:52]
6 Allegro [3:14]

Johann Christian Bach (1735–1782)
10 Chromatic Fugue on B-A-C-H (W.A.50) [6:14]

Wilhelm Friedemann Bach (1710–1784)
12 Polonaise No.2 in C minor (F.12) [4:56]
14 Polonaise No.4 in D minor (F.12) [3:06]

The composer sons of J. S. Bach, on the contrary, are renovators and innovators.

They did not follow on their father's tracks, but instead, they have been the precursors of the "new style": the classical style.

Joseph Haydn always referred and studied the sonatas of Carl Philipp Emanuel Bach.

One may be therefore sure that the tutoring of Johann Sebastian Bach did not resulted in making more or less talented clones of himself, but genuinely creative and innovative musicians who wholeheartedly adopted the new instruments (the "piano-forte") and the new musical style which they developed to a point where Haydn and Mozart will naturally grow upon.

Johann Christian Bach was born in Leipzig, September 5th 1735, died in London 1st January 1782. Sometimes called "the Bach of London" he was the last son of Johann Sebastian with Anna Magdalena.

On the trespassing of his father, his half-brother Carl Philipp Emanuel endorsed Johann Christian's musical education.

Johann Christian spent few years in Italy as Kappelmeister of the Cont Litta, famous patron of the arts of Milan and instructed himself with Padre Martini. The well established theorist and philosopher, mathematician and erudite Giovanni Batista Martini (1706-1784) will have a deep influence on the younger composer.

Most of his religious work is from that time in Italy. He became organist at the Milan cathedral, after having converted to Catholicism. Johann Christian oriented himself towards the Opera, a genre his father and brothers never felt deeply about.

Asked by the King's Theater of London, he settled down in England where he became Master of Music of the Queen. A looked after teacher, composer, virtuoso, concert organizer and close friend with the most eminent personalities of his time, he had a very large success and became one of the most famous musicians in London.

He met with Mozart in London and he had a great effect on the young composer. On his death, Mozart wrote to his father: "the Bach of London is dead. This is a sad day for the world of music."

The eldest son of Johann Sebastian and his first wife Maria Barbara, he had his musical training with his father who have composed for him the "Klavierbuchlein".

After finishing law studies in Leipzig, he started as organist at the church: Sainte-Cecile of Dresden.

In 1762 he was offered the position of director of the music at the court of Darmstadt. Yet, it seems that for unknown reasons he held the title without really working there. He resigned in 1764 and left the city at 1770.

From then on he had an unstable life.

He was teaching to some students and from time to time fascinating the audiences with his talent at the organ. He died in poverty.

Wilhelm Friedemann Bach was without doubt the most enigmatic of Johann Sebastian's sons. His music is very original and personal. The mixture of the "old" and "new" styles, combined with an enigmatic personality and great talent, probably first discovered by his father who was known to cherish him particularly.

Carl Philipp Emanuel Bach was born on the 8th of March 1788 in Weimar and died in Hamburg on December 14th of 1788. Fifth son of Johann Sebastian and Maria Barbara Bach he had G. P. Telemann as his godfather.

Together with serious law and general studies he had his father as his unique music teacher. Highly gifted, he would become a famous virtuoso at the keyboards.

Last name: BACH

Last name: BACH - Carl Philipp Emanuel - Johann Christian - Wilhelm Friedemann

It took time to discard vestiges from a typical conservatory schooling and look back at the Chopin Études which "lived" with me, as with any other pianist, since my early teens. Laden with all those years of school exams, piano competition performances and all physical and mental stresses, it is definitely uneasy to bring to light what the Etudes are. Not just "beautiful gems-little-short pieces" as usually described, but a radical shift in piano playing after Beethoven and Czerny.

The history of keyboard playing, from a physiological point, can be summarized as a journey starting with the use of fingers only (clavichord, harpsichord), gradually including the thumb (J. S. Bach) and moving up to the wrists (Czerny, Beethoven), forearms (Chopin), shoulders (Liszt) to ultimately binding the whole upper body (Rachmaninoff, Stravinsky).

Chopin's Etudes are actually totally different than Liszt's. While Liszt authors a brand-new sound-universe which requires previously unknown techniques to perform, Chopin affirms "simplicity is the highest goal, achievable when you have overcome all difficulties." He therefore expands the known techniques in such revolutionary ways to create new sound-universes. Yet "simplicity is (should be) the highest goal."

F. Chopin - Complete Etudes op.10, op.25 and Trois Nouvelles Etudes by Mehmet Okonsar. LMO-Records: dvdcd-01-512

F. Chopin - Complete Etudes op.10, op.25 and Trois Nouvelles Etudes:op.25 N.9 in G-flat Major

F. Chopin - Complete Etudes op.10, op.25 and Trois Nouvelles Etudes:op.25 N.2 in F Minor

F. Chopin - Complete Etudes op.10, op.25 and Trois Nouvelles Etudes:op.25 N.1 in A-flat Major

F. Chopin - Complete Etudes op.10, op.25 and Trois Nouvelles Etudes:No. 9 op.10 N.9 in F Minor

F. Chopin - Complete Etudes op.10, op.25 and Trois Nouvelles Etudes:op.10 N.4 in C-s Minor

F. Chopin - Complete Etudes op.10, op.25 and Trois Nouvelles Etudes:Etude No. 3 op.10 N.3 in E Major

F. Chopin - Complete Etudes op.10, op.25 and Trois Nouvelles Etudes:Etude No. 1 op.10 N.1 in C Major

ArtofFugue Track 1

ArtofFugue Track 2

ArtofFugue Track 3

ArtofFugue Track 4

ArtofFugue Track 5

ArtofFugue Track 6

ArtofFugue Track 7

ArtofFugue Track 8

ArtofFugue Track 9

ArtofFugue Track 10

ArtofFugue Track 11

ArtofFugue Track 13

01 Aria

The Scherzos by Chopin do not have anything in common with the scherzo of the classical sonata. They are extensive pieces which have in common only the 3/4 time signature and the fast tempos: Presto and derivatives. The four scherzos are extremely rich in inventiveness, often very passionate, overflowing with a boisterous rush in often dramatic and tragic music writing. The last Scherzo (op.54) is, however, more sober and melancholic than the others.

Chopin first gave the title Ballade to a musical composition. With Chopin, the Ballade became an extended piece without a sharply defined formal structure and which is, to quote Etienne Rogers, "something of a song, a rondo, a sonata and a variations set". In the 19th. century, after Chopin, the Ballade will be a popular form always keeping with the vocal style and often from legendary and heroic literary inspiration.

The four Ballades were composed over twelve years. By the richness of their elaborations they are among the most accomplished works of the composer. According to Robert Schumann, the first three Ballades were inspired by the poetry of Adan Mickiewicz, Polish poet, also in exile in Paris. However, Chopin never mentioned any literary source of inspiration and we know how distant he was with programme-music.

The Berceuse op.57, probably composed in 1843 is a masterpiece of the last years. Chopin played it on concert in February 1844 but  extensively edited it afterward. It is published in 1845. A marvelous piece of grace and delicacy which, by its subtle rubato, seems to be in a mood of an improvisation. "The left hand is the [orchestra] conductor" Chopin was used to say. This left hand here, is the ostinato support for a gracious melody and its variations. There are some 16 variations, each with an amazingly creative ecriture.

04-Scherzo No.4 in E Major, op.54

02-Scherzo No.2 in B-flat Minor, op.31

David Ezra Okonsar, Belgian pianist, composer, conductor and musicologist was born in Istanbul, Turkey. He studied piano, composition and orchestration at the Brussels Royal Conservatory and musicology at the Istanbul Technical University. His primary teachers were J. Cl. Vanden Eynden and Alexis Weissenberg for the piano and Madame Jacqueline Fontyn for composition. He is laureate of numerous international piano competitions including the Gina Bachauer. Besides his international concert career he is a prolific composer and music writer.

David Ezra Okonsar

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