I first encountered Emre at the 2005 Istanbul Music Festival when he gave the first complete performance in Turkey of Bach’s Forty-Eight. A studiously serious young man of striking demeanour, I recall, intent on the line and intellect of the music, the audience secondary to the occasion. At the tail-end of the following year, we found ourselves in Sacile for a wintery, fog-bound week, producing a double album with him at the Fazioli Concert Hall. Beethoven – the last three piano sonatas and Diabelli Variations. It’s a source of continuing regret that these recordings, so far as I’m aware, remain unreleased. They demand to be heard.
I first encountered Emre at the 2005 Istanbul Music Festival when he gave the first complete performance in Turkey of Bach’s Forty-Eight. A studiously serious young man of striking demeanour, I recall, intent on the line and intellect of the music, the audience secondary to the occasion. At the tail-end of the following year, we found ourselves in Sacile for a wintery, fog-bound week, producing a double album with him at the Fazioli Concert Hall. Beethoven – the last three piano sonatas and Diabelli Variations. It’s a source of continuing regret that these recordings, so far as I’m aware, remain unreleased. They demand to be heard.