David Ezra Okonsar began composing music at the age of 11, drawing inspiration from the revolutionary works of Arnold Schoenberg and Pierre Boulez. From an early age, Okonsar was captivated by the possibilities of atonality and serialism, which would become central to his compositional language.

A transformative moment came when he discovered a copy of Boulez's Third Piano Sonata in the library of the Ankara State Conservatory. This encounter set him on a path of deep exploration into avant-garde music. The French Cultural Centre of Ankara, with its extensive mediatheque, offered Okonsar access to an extraordinary range of recordings and scores. The works of Edgar Varèse, Pierre Schaeffer, Iannis Xenakis, and Olivier Messiaen profoundly influenced the young composer, shaping his artistic vision and sensibilities.

After completing his piano studies, Okonsar pursued advanced training at the Brussels Royal Conservatory of Music under the guidance of Madame Jacqueline Fontyn, one of Belgium’s foremost composers. Fontyn’s expertise in modern composition and orchestration significantly informed Okonsar’s approach. Additionally, he benefited from the mentorship of Claude Ballif, the renowned analysis teacher at the Paris Conservatory, who deepened Okonsar’s understanding of contemporary musical structures and forms.

From the outset, Okonsar’s compositions were marked by their fearless exploration of unconventional forms and ensembles. His works pushed the boundaries of serialism, incorporating elements of atonal jazz and the improvisatory techniques of musicians like Cecil Taylor and Bill Evans. These influences added a unique rhythmic and harmonic complexity to his music, blending seamlessly with the extended serial techniques that remained a constant in his work.

During the 1980s, Okonsar expanded his horizons further, drawing on the innovations of Krzysztof Penderecki, Iannis Xenakis, and György Ligeti. Their pioneering approaches to texture, timbre, and spatial composition resonated deeply with Okonsar, encouraging him to develop a highly individual style characterized by intricate layering and structural depth.

The practice of electronic music by figures such as Ligeti, Stockhausen, Xenakis, and Pousseur in the 1960s introduced a radically modern perspective on orchestration. Concepts like "sound envelopes," "filters," and "formants" began to redefine the potential of acoustic and electronic instruments alike. In the 1990s, Okonsar adopted similar principles, integrating these techniques into his orchestral and chamber works. His symphony Baroque Horizons exemplifies this synthesis, blending electronic textures with baroque-inspired counterpoint in a strikingly modern framework.

Okonsar’s recent compositions further demonstrate his innovative approach. Works such as Sounds and Perfumes Turn in the Evening Air, for piano and electronically processed piano, and Jacob’s Ladder: Five Ascensions for Piano, inspired by biblical themes, showcase his ability to fuse traditional and avant-garde elements. His suite Imugi’s Dream, a twelve-piece cycle for piano and cello, draws from Korean mythology to create a rich narrative tapestry. Meanwhile, his 20 Preludes for Solo Piano reveal a masterful command of atonal language, blending rigorous structural techniques with emotive and virtuosic expression.

Okonsar’s music is known for its meticulous construction, presenting a highly structured inner core that invites and rewards analytical engagement. His scores are distinguished by their precision, intricacy, and refined detail, reflecting his deep commitment to the craft of composition.

In recognition of his significant contributions to contemporary music, David Ezra (formerly Mehmet) Okonsar received the Gold Medal from the "Académie Internationale des Arts Contemporains" of Enghien, Belgium. Today, he continues to push the boundaries of musical innovation, leaving an indelible mark on the world of contemporary classical music.