Composer

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

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. David Ezra (previously: Mehmet) Okonsar (Okonşar) followed a similar path in the nineties.

The music of 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).

David Ezra 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 *
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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