Emerald Forest is a collection of six suites for the solo piano by David-Ezra Okonsar. It is a contemporary rendition of the baroque instrumental suite form with a unique blend of modern and classic elements. Okonsar recreates the baroque forms of Preambulum, Allemande, Corrente, Sarabande, and Gigue, giving them a fresh and vibrant musical interpretation.

Each suite in Emerald Forest showcases Okonsar's personal style for combining intricate harmonies and melodic lines with innovative rhythmic patterns. In each suite, while retaining a specific character, the Preambulum sets the stage for the journey ahead with its delicate arpeggios and ethereal atmosphere. As the Allemande unfolds, the listener is enveloped in a rich tapestry of contrasting textures and emotions as Okonsar seamlessly weaves together elements of the past and present. The Corrente, with its lively and energetic character, captivates the audience with its intricate interplay of voices and dazzling virtuosity. Conversely, the Sarabande slows the pace and offers a moment of introspection with its hauntingly beautiful melodies and poignant harmonies. And finally, the Gigue brings the suite to a thrilling conclusion with its infectious rhythms and joyful exuberance.

In Emerald Forest, Okonsar demonstrates his personal view on the baroque suite form while adding his unique voice to the genre, resulting in a truly captivating musical experience.

Emerald Forest (6 Suites for the Solo Piano) LMO-Records60-comp-2024-01

Emerald Forest (6 Suites for the Solo Piano)

Symphony N.V: Fons Vitæ (The Fountain of Life) by David-Ezra Okonsar is a powerful and dynamic composition that captures the essence of life itself. Fons Vitae, inspired by the book of Solomon ibn Gabirol (1021-1058), is a musical journey filled with emotional depth and vibrant melodies that transport listeners to a realm of pure beauty and introspection. 

A large orchestra is employed for the work. Okonsar did not use electronic sound sources in this project as he often does to maintain a traditional and organic feel to the music.

V. Moonlight's Tender Grace (Symphony N V, Fons Vitae)

IV. Echoing Promises (Symphony N V, Fons Vitae)

I. Moon's Enchanting Light (Symphony N V, Fons Vitae)

The baroque and pre-baroque music form Pavane is characterized by its slow and stately tempo. It is a piece that is typically written in duple time and has a ceremonial feel to it. The Pavane is often accompanied by a slower harmonic rhythm and features a repetitive melodic structure. Its origins can be traced back to the Renaissance period before evolving into a popular dance form in the Baroque era.

Grave and solemn in nature, Pavane has been the vehicle for many important composers throughout history.  For example, composer Gabriel Fauré's Pavane in F# minor is a well-known example of this music form, with its melancholic melody and elegant tempo capturing the essence of a courtly dance. The piece has been used in various settings, from royal ceremonies to modern-day concerts, showcasing the enduring popularity and versatility of the Pavane. Orlando Gibbons composed one of the most famous Pavanes, "The Lord of Salisbury."

"Secret Pavanes" by David Ezra Okonsar for piano solo are a modern interpretation of this classic dance form. It features complex harmonies and intricate rhythms that pay homage to the traditional Pavane while adding a contemporary twist. Meditative and reflective, "Secret Pavanes" invites the listener to embark on a journey through time and emotion.

It is composed as 16 solo piano pieces each capturing a different mood or atmosphere. 

The pieces range from hauntingly beautiful to energetically playful. Okonsar's innovative approach to the Pavane has garnered critical acclaim. For example, in the piece "Secret Pavane No. 5, Silent Figures Move In The Night" Okonsar incorporates dissonant chords and shifting dynamics to create a sense of tension and release, reminiscent of a modern-day struggle. In contrast, "Secret Pavane No. 10, Dreams To Keep" features flowing arpeggios and delicate melodies that evoke a sense of peace and tranquility, akin to a serene moment in nature.

A very unique solo piano album, "Secret Pavanes" blends the complexity of modern musical language with the simplicity and natural beauty of the baroque era.

XIII. Kindled In The Flickering Fire (Secret Pavanes, 16 Pieces for piano solo)

The Novelettes (op.21) by Robert Schumann were composed in 1838. They are among his least-known works but are still considered masterpieces by many music scholars.

Each piece of the series is a gem of musical storytelling and displays Schumann's incredible talent for creating evocative melodies. For example, Schumann weaves a captivating narrative in the fourth Novelette through intricate piano passages and expressive melodies. The piece takes the listener on a journey of love and longing, with moments of tender introspection juxtaposed with passionate outbursts, showcasing Schumann's ability to evoke complex emotions through his music.

However, some critics argue that Schumann may have been skilled at creating melodies and evoking emotions, but his compositions lack structural coherence and can be overly sentimental. Many others admire his ability to create deeply emotional and captivating music that continues to resonate with audiences today.

The Novelettes are a prime example of Schumann's ability to connect with listeners on an emotional level. His use of rich harmonies and lyrical melodies in these pieces allows for a truly immersive and unforgettable musical experience.

For instance, in Novelette No. 1 in F Major, Schumann expertly weaves a series of melodic motifs that gradually build in intensity, creating a sense of anticipation and emotional tension. The piece then transitions into a sad and reflective section, where delicate piano passages evoke a deep sense of longing and nostalgia. This juxtaposition of contrasting emotions showcases Schumann's ability to evoke a wide range of feelings within a single composition.

The Sonata No. 2 in G minor op.22 by Robert Schumann is a masterpiece of Romantic piano music.

The form "Piano Sonata" is a genre explored and developed by many composers throughout history. In the Romantic period, the piano sonata became a popular and significant form for composers to showcase their virtuosity and emotional expression.

With Robert Schumann, the (romantic era) piano sonata reached new heights of complexity and innovation. One detailed example of Schumann's innovation in the piano sonata genre is his use of thematic transformation. In the second movement of Sonata No. 2, he takes a simple, melancholic theme and gradually transforms it into a passionate and virtuosic climax, showcasing both his technical skill and emotional depth.

Another example of Schumann's innovation can be seen in his use of unconventional harmonies and chord progressions. In the first movement of Sonata No. 2, he incorporates unexpected modulations and tonal shifts, creating a sense of unpredictability and tension. The last movement of the Sonata No. 2 showcases Schumann's virtuosic and energetic style, with fast-paced passages and dramatic flourishes that captivate the audience.

Sonata No. 2 in G minor, Op.22 II: Andantino. Getragen

Novelletten No. 6 in A Major, Op. 21

Novelletten No. 5 in D Major, Op. 21

Novelletten No. 4 in D Major, Op. 21

Novelletten No. 3 in D Major, Op. 21

Novelletten No. 2 in D Major, Op. 21

Novelletten No. 1 in F Major, Op. 21

Symphony N.6 Pastorale (Quattro Stagioni) for large orchestra, piano, tenor voice, and mixed choir by David Ezra Okonsar is a powerful musical composition that showcases the beauty of nature and the human experience of it. The music captures the essence of the changing seasons and the emotions they evoke. 

The symphony includes tenor vocals and a choir (SATB) with Latin words. However, there are no meaningful written lyrics; the vocal parts are designed as musical notes featuring Latin words as musical entities. The vocal parts are meant to convey a mood rather than tell a story. The Latin words woven into the music add an element of mystery and reverence, enhancing the overall emotional impact of the piece.

Nature and the four seasons are conceptualized in relation to the Divine in this music, bringing a sense of spirituality and connection to the natural world. The intricate layering of instruments and voices creates a rich tapestry of sound that transports the listener to another realm. The ethereal quality of the music allows the listener to feel as though they are experiencing a spiritual awakening, connecting them to something greater than themselves. The harmonious blend of voices and instruments creates a sense of unity and harmony, mirroring the balance found in nature. The Latin words act as a vessel for the emotions and intentions of the piece, allowing the listener to interpret and feel the music in a personal and profound way. Overall, the composition transcends language and culture, speaking directly to the heart and soul of all who hear it.

The work can be seen as another interpretation of Beethoven's "Pastorale Symphony" (also No. 6), but with a modern twist that captures the essence of nature and human emotion in a unique and powerful way. The composer's harmonies and melodies create a truly immersive experience that resonates deeply with listeners. Various instruments and voices add an extra layer of depth to the piece, bringing Beethoven's vision of life and nature in a fresh and innovative way that captivates audiences.

4 Lestate

3 La Primavera

2 Linverno

1 Lautunno

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

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.10 N.12 in C Minor

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. 1 op.10 N.1 in C Major

ArtofFugue Track 1

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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