And so the evening of Mozart Sonatas performed by renowned Turkish pianist and composer Fazıl Say at Heybeliada came to an end. After having just witnessed two hours of pure fantasy in the magical setting of the open air grounds of the Agia Triada Monastery atop a hill in Heybeliada, we commenced our walk downhill, away from the Monastery, and towards the ferries that awaited to take us back to the real world, to Kabataş, to Bostancı, and in my case, to Büyükada. The memory and aura of the evening lingered in our minds and souls. Back home in Büyükada, I closed my eyes for sweet repose, and awoke the next morning in anticipation for the next, and final, leg of the Mozart Marathon with Fazıl Say.
The final performance of the Marathon was to take place at the Lütfi Kırdar Conventıon and Exhibition Center on mainland Istanbul, a lengthy two-hour commute by ferry from Büyükada. Once on dry ground, however, the rest was easy. It was with leisurely stride that I walked to the venue, passing Maçka Park on the way and watching with amusement the abundance of stray cats around the Cemal Reşit Rey Concert Hall. I ran into friends and acquaintances from around the block doing the same walk for the same cause, and paused for a moment before entering the venue to get a view of the strait and the Asian side from just outside Lütfi Kırdar.
The evening’s program featured Mozart’s Piano Sonatas No. 9, 11, 13, 14 (in D Major, A Major, B-flat major, and C minor, respectively), and Fantasia in C Minor. What caught my attention during this performance was the way that Say interpreted the Mozart compositions. The layman may perceive a composition of Mozart as having a merry mood, frisky rhythm, and a certain nonchalance, and these elements were present. However, I also sensed a powerful statement in Say’s interpretation. Once or twice it even reminded me of the command and clout and darkness of Beethoven. I was uncertain as to whether or not my perception was real or imagined. I soon ascertained that it was, indeed, real when I met up with a friend of mine for the interval. The first thing she asked me was “Did you feel something different about the way he interpreted Mozart? The emphasis, the sentiment… it almost felt like Beethoven. It was so different!” I don’t know whether Say would agree with this, or call us fools in his usual mocking, satirical style. However, there certainly was a special and unique feel to the Mozart sonatas this evening.
There were two other highlights: Sonata No. 11 in A Major, or the one featuring one of the most renowned compositions of Mozart, i.e., the Turkish March. Each sonata was phenomenal in its own right, but of course, this was the one to receive the most applause and cheers. It also directly—or indirectly—led to the second unique highlight of the evening. In homage to the sonata, Say also performed his jazz interpretation of the piece, “Alla Turca Jazz.” In addition to being a favorite of any Say fan, it has also become a hit internationally and is a popular choice for many an artist’s repertoire on stages abroad. If you haven’t heard it yet, you are missing out. Check it out, get with it, catch up, and you will also get a feel of the finale of our unforgettable evening.
Featured Image Source: IKSV
