Mehmet Okonsar, composer

Mehmet Okonsar started composing music at the age of 11, his role-models were Arnold Schoenberg and Pierre Boulez.

(aşağıdaki metni Türkçe olarak buradan okuyabilirsiniz)

A copy of Boulez's Third Piano Sonata, found at the library of the Ankara State Conservatory paved the way for his composing track. The French Cultural Centre of Ankara with the comprehensive mediathèque it then possessed, provided Okonsar (Okonşar) with overwhelming listening opportunities. Edgar Varése, Pierre Schaeffer, Iannis Xenakis and Olivier Messiaen shaped the musical sensibility of the young Okonsar (Okonşar).

After completing piano studies, he was trained at the Brussels Royal Conservatory of Music with one of Belgium's foremost composers of our time ("Grand Prix de Rome", a student of Henri Dutilleux): Madame Jacqueline Fontyn. He has also been coached by Paris Conservatory's famous analysis teacher: Claude Ballif.

The works of Okonsar were, right from the beginning, fearlessly exploring unusual forms and ensembles. During the eigthties atonal Jazz and similar contemporary idioms found in the music of Cecil Taylor, Bill Evans have been an additional influence to the ever-present extended serialism in the work of Okonsar (Okonşar). Other major extra-serialistic influences who shaped the music of Okonsar (Okonşar) are K. Penderecki, I. Xenakis and G. Ligeti.

The practice of electronic-music by Ligeti, Stockhausen, Xenakis, Pousseur and others in the sixties created a completely new and modern approach to orchestration. The classical orchestra's resources begun to be thought in terms of "sound envelopes", "filters", "formants" and so on. Mehmet Okonsar (Okonşar) followed a similar path in the nineties.

The music of Mehmet Okonsar (Okonşar) is highly structured and it is simultaneously inviting and challenging analytical approach. Today the composer uses computer algorithmic and symbolic programming languages (mainly LISP in the "Common Music" environment) to create a deeply "organic" structure which, according to the composer, is the sine-qua-non requisite for a musical composition to "stand strong".

This complex structural inner-core is presented in the score with a detailed, precise, intricate and refined musical writing (show samples).

Mehmet Okonsar (Okonşar) is recipient of the Gold Medal at the "Académie Internationale des Arts Contemporains" of Enghien, Belgium for his compositions.

List of Works:

"Shir Ha Shirim" שיר השירים For soprano and large orchestra (2010).

"Tehillim" תהלים For solo voice and small orchestra (2010).

"Kaleidoscopes" (2006-2009)
        N1. for Piano *. Premiered by the composer in Ankara
        N2. for Chamber Strings Orchestra, Marimba and Piano * (see top of the page).
               Premiere conducted by Hakan Şensoy in Istanbul
        N3. for Viola and Piano *. Premiered by Çetin Aydar (viola) and the composer in Ankara

"Percussion X" (2005) For three percussionists *. Premiered in Ankara by Trio SaNeNa.

"Temples of Kyoto" (2004-2010)
        Three pieces for Piano, N1. Kinkaku-ji 金閣寺, Temple of the Golden Pavilion
                                                       Premiered in Tokyo by the composer

(dedicated to the memory of Mrs. Yasuko Fukuda)

                                            N2. Tetsugaku no Michi, Philosopher's Walk 哲学の道
                                                       (dedicated to Reiko and Masatsugu Sasaki)
                                              N3. Ginkaku-ji 銀閣寺, Temple of the Silver Pavilion

"Two Seascapes" (2000) * for a-capella mixed choir, commissioned by the Turkish National Broadcast (TRT). Premiere conducted by Prof. Mustafa Apaydın, Ankara.

"Rhythm Studies for Piano Solo" series 2 (2000)
"Rhythm Studies for Piano Solo" series 1 (1999), inspired from the "Schillinger System of Musical Composition"

"Oannés" & "Mr. Dunne" (1990) Two improvisational charts of appreciatively 7 minutes each, for one or several pianos. Premiered in Brussels by the composer.

"Unknown" (1989) for Bass Clarinet and Percussion. Premiered in Brussels.

"Mandel Fractal Studies" (1997) Five pieces for Piano based on fractal iterations and Strange Attractors.

"Emulation" (1989) Five Pieces for Piano. Premiered by the composer in Istanbul.

"Chameleon" (1987) Three Pieces for Piano. Premiered by the composer in Brussels.

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	Kaleidoscopes N.2 for 20 Solo Strings, Marimba and Piano by Mehmet Okonsar @ Yahoo! Video Istanbul Chamber Orchestra - Cond. Hakan Şensoy About "Kaleidoscopes" N.2 ~ "Kaleidoscopes" N.2 Hakkında * marked pieces available in video and/or audio formats

from CHICK COREA "I enjoyed listening to them (piano solo and recorded compositions). Your music is very creative. Please continue to create. The world is in need of musical creations that can inspire others. You have all my best wishes." Letter of November 25, 1985 Show The Original Letter	Mehmet Okonsar started composing music at the age of 11, his role-models were Arnold Schoenberg and Pierre Boulez. (ce texte éxiste en Français, ici) (aşağıdaki metni Türkçe olarak buradan okuyabilirsiniz) A copy of Boulez's Third Piano Sonata, found at the library of the Ankara State Conservatory paved the way for his composing track. The French Cultural Centre of Ankara with the comprehensive mediathèque it then possessed, provided Okonsar (Okonşar) with overwhelming listening opportunities. Edgar Varése, Pierre Schaeffer, Iannis Xenakis and Olivier Messiaen shaped the musical sensibility of the young Okonsar (Okonşar). After completing piano studies, he was trained at the Brussels Royal Conservatory of Music with one of Belgium's foremost composers of our time ("Grand Prix de Rome", a student of Henri Dutilleux): Madame Jacqueline Fontyn. He has also been coached by Paris Conservatory's famous analysis teacher: Claude Ballif. The works of Okonsar were, right from the beginning, fearlessly exploring unusual forms and ensembles. During the eigthties atonal Jazz and similar contemporary idioms found in the music of Cecil Taylor, Bill Evans have been an additional influence to the ever-present extended serialism in the work of Okonsar (Okonşar). Other major extra-serialistic influences who shaped the music of Okonsar (Okonşar) are K. Penderecki, I. Xenakis and G. Ligeti. The practice of electronic-music by Ligeti, Stockhausen, Xenakis, Pousseur and others in the sixties created a completely new and modern approach to orchestration. The classical orchestra's resources begun to be thought in terms of "sound envelopes", "filters", "formants" and so on. Mehmet Okonsar (Okonşar) followed a similar path in the nineties. The music of Mehmet Okonsar (Okonşar) is highly structured and it is simultaneously inviting and challenging analytical approach. Today the composer uses computer algorithmic and symbolic programming languages (mainly LISP in the "Common Music" environment) to create a deeply "organic" structure which, according to the composer, is the sine-qua-non requisite for a musical composition to "stand strong". This complex structural inner-core is presented in the score with a detailed, precise, intricate and refined musical writing (show samples). Mehmet Okonsar (Okonşar) is recipient of the Gold Medal at the "Académie Internationale des Arts Contemporains" of Enghien, Belgium for his compositions. List of Works: "Shir Ha Shirim" שיר השירים For soprano and large orchestra (2010). "Tehillim" תהלים For solo voice and small orchestra (2010). "Kaleidoscopes" (2006-2009) N1. for Piano . Premiered by the composer in Ankara N2. for Chamber Strings Orchestra, Marimba and Piano (see top of the page). Premiere conducted by Hakan Şensoy in Istanbul N3. for Viola and Piano . Premiered by Çetin Aydar (viola) and the composer in Ankara "Percussion X" (2005) For three percussionists . Premiered in Ankara by Trio SaNeNa. "Temples of Kyoto" (2004-2010) Three pieces for Piano, N1. Kinkaku-ji 金閣寺, Temple of the Golden Pavilion Premiered in Tokyo by the composer (dedicated to the memory of Mrs. Yasuko Fukuda) N2. Tetsugaku no Michi, Philosopher's Walk 哲学の道 (dedicated to Reiko and Masatsugu Sasaki) N3. Ginkaku-ji 銀閣寺, Temple of the Silver Pavilion "Two Seascapes" (2000) * for a-capella mixed choir, commissioned by the Turkish National Broadcast (TRT). Premiere conducted by Prof. Mustafa Apaydın, Ankara. "Rhythm Studies for Piano Solo" series 2 (2000) "Rhythm Studies for Piano Solo" series 1 (1999), inspired from the "Schillinger System of Musical Composition" "Oannés" & "Mr. Dunne" (1990) Two improvisational charts of appreciatively 7 minutes each, for one or several pianos. Premiered in Brussels by the composer. "Unknown" (1989) for Bass Clarinet and Percussion. Premiered in Brussels. "Mandel Fractal Studies" (1997) Five pieces for Piano based on fractal iterations and Strange Attractors. "Emulation" (1989) Five Pieces for Piano. Premiered by the composer in Istanbul. "Chameleon" (1987) Three Pieces for Piano. Premiered by the composer in Brussels.
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	Mehmet Okonsar a commencé à composer la musique à l'âge de 11 ans, ses rôle-modèles ont été Arnold Schoenberg et Pierre Boulez. Une copie de la Troisième Sonate pour Piano de Boulez, trouvée à la bibliothèque du Conservatoire de l'Etat d'Ankara, a ouvert la voie à suivre pour ses compositions. Le Centre Culturel Français d'Ankara avec l'impressionante médiathèque qu'il possédait à l'époque, offrait de vaste et interessantes possibilités d'écoute. Edgar Varèse, Pierre Schaeffer, Iannis Xenakis et Olivier Messiaen ont formé la sensibilité musicale du jeune Okonsar (Okonşar). Après avoir terminé ses études de piano au Conservatoire Royal de Bruxelles, il a été formé avec l'un des plus grands compositeurs de la Belgique ("Grand Prix de Rome", élève d'Henri Dutilleux): Madame Jacqueline Fontyn. Il a également bénéficié des enseignements du célévre professeur d'analyse musicale du Conservatoire de Paris: Claude Ballif. Les compositions de Okonsar ont été, dès le début, dans la voie d'explorer des formes et des ensembles inhabituelles. Au cours des années 80 le Jazz atonale et les idiomes similaires contemporains dans la musique de Cecil Taylor, Bill Evans ont eu une influence supplémentaire non négligeable sur le sérialisme toujours largement présent dans les travaux de Okonsar (Okonşar). Les autres grandes influences extra-seriels qui ont façonné la musique de Okonsar (Okonşar) sont K. Penderecki, I. Xenakis et G. Ligeti. La pratique de la musique électronique par Ligeti, Stockhausen, Xenakis, Pousseur et d'autres, dans les années soixante, a créé une approche complètement nouvelle et moderne de l'orchestration. Les ressources de l'orchestre classique se sont vu penser en termes de «enveloppes sonores», des «filtres», «formants» et ainsi de suite. Mehmet Okonsar (Okonşar) a aussi suivi un parcours similaire dans les années 90. La musique de Mehmet Okonsar (Okonşar) est très structurée et elle invite et stimule une approche analytique. Aujourd'hui, le compositeur utilise l'ordinateur dans un langage algorithmique et symbolique de programmation: LISP pour créer une structure interne quasi-organique qui, selon le compositeur, est la condition sine qua non pour une composition musicale cohérante et intègre. Cette structuration interne de base est présenté dans la notation de façon détaillée, précise, complexe et raffiné. Mehmet Okonsar (Okonşar) est récipiend de la Médaille d'Or à "l'Académie Internationale des Arts Contemporains d'Enghien", en Belgique pour ses compositions.

composer's biography

from

CHICK COREA

"I enjoyed listening to them (piano solo and recorded compositions). Your music is very creative. Please continue to create. The world is in need of musical creations that can inspire others. You have all my best wishes."