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The final movement of the Sonata in A major KV 331 by Wolfgang Amadeus Mozart, the Rondo Alla Turca, is one of the most famous piano pieces of all time. Once only familiar to musical experts, later a universal piece for all piano pupils, its opening melody is now even omnipresent as an alienated sinus tone-like mobile phone ring tone.
Fazıl Say's arrangement, originally created as an effective encore, follows on from this popularity. After the first eight bars have been presented in original form, typical elements of jazz superimposed on the still recognisable classical foundations can be discovered, such as syncopation of the top notes and ornamentation through chromatic blue notes, embedded in the at times frenzied chains of semiquavers. In the spirit of the work's improvisatory character, Say likes to perfom his Alla Turca Jazz in different combinations, for example accompanied by jazz singers of with orchestra.
It may appear strange that Fazıl Say, who was born in Turkey and - when not on tour - is still resident in that country, does not bring back Mozart's interpretation of genuine Turkish music closer to its own roots, particularly as many of his compositions such as Black Earth or the Violin Sonata are characterised by a subtle amalgamation of the Classical-Romantic tradition, Turkish folk music and elements of jazz. In a further Mozart arrangement, the ballet music Patara premiered in Vienna in 2006, composed on the basis of the Rococo-like theme from the first movement of the same A-major Sonata (wich enjoys almost as great popularity as the Alla Turca theme), Say utilised the connection which was absent in Alla Turca, albeit in the opposite direction. In the ballet music, the piano symbolises Western culture and the Ney flute Oriental culture, communcated atmosperically by austere percussion instrumentation and soprano vocalisation.
莫札特（Wolfgang Amadeus Mozart）A大調鋼琴奏鳴曲KV 331的終樂章《土耳其進行曲》（Rondo Alla Turca），是史上最著名的鋼琴作品之一。這首曲子originally只有音樂專家熟悉，後來成為所有鋼琴學生的必修曲目，如今其開頭旋律甚至無所不在地出現在手機鈴聲中，變成一種略帶異化、近似正弦音的音效。
法季爾・薩伊（Fazıl Say）的改編版本，最初是作為一首效果強烈的安可曲而創作，正是延續了這首曲子的高人氣。在前八小節以原版形式呈現之後，聽眾便能發現典型的爵士元素被疊加在依然可辨識的古典基礎之上，例如高音聲部的切分音，以及透過半音藍調音（blue notes）進行的裝飾，這些元素被嵌入在時而狂熱奔放的十六分音符音群之中。本著這部作品即興特質的精神，薩伊喜歡以不同的組合方式演出他的《爵士土耳其進行曲》（Alla Turca Jazz），例如與爵士歌手合作，或搭配管弦樂團演出。
乍看之下似乎有些奇怪：薩伊出生於土耳其，即便不在巡演時，仍居住在該國，但他並未在這首曲子中，把莫札特對「真正的」土耳其音樂的詮釋，拉回更貼近其自身根源的方向——尤其考慮到他的許多作品，例如《黑土》（Black Earth）或《小提琴奏鳴曲》，都以古典—浪漫傳統、土耳其民俗音樂與爵士元素之間微妙的融合為特色。然而，在薩伊的另一部莫札特改編作品中——2006年於維也納首演的芭蕾舞劇音樂《Patara》——他則以相反的方向，運用了在《爵士土耳其進行曲》中所欠缺的那種連結。這部作品是根據同一首A大調奏鳴曲第一樂章中，幾乎和「土耳其進行曲」主題同樣受歡迎的、帶有洛可可風格的主題所譜寫而成。在這部芭蕾音樂中，鋼琴象徵西方文化，內伊笛（Ney flute）象徵東方文化，並透過質樸的打擊樂編制與女高音吟唱，營造出整體的氛圍感。
