Rhapsody

This program begins with Beethoven’s beloved Sonata No 4. This sonata was originally intended by Beethoven to be a foil and contrast to his well-known “Spring Sonata,” and its driven, passionate, and relentlessly energetic character make his thinking clear! To quote musicologist Dr. Richard Rodda, “In a world still largely accustomed to the reserved, genteel musical climate of pre-Revolutionary Classicism, Ludwig van Beethoven burst upon the Viennese cultural scene like a fiery meteor.”

Dark and brooding, Prokofiev’s Sonata No 1 stirs the imagination in a way that is typical of great, mid-20th-century, Russian music. Prokofiev said, “It should sound in such a way that people should jump in their seat…” and that the ending should sound like “wind passing through a graveyard.” Indeed, this piece was performed at Prokofiev’s funeral by the violinist David Oistrakh, who premiered the work, and pianist Samuil Feinberg.

This program was originally scheduled to coincide with the conclusion to a multi-year project in which Peckins performed the complete solo violin music by Bach and Ysaÿe in over 30 lecture recitals throughout New England. This was delayed due to COVID-19 concert cancelations, so Peckins decided to include “Rhapsody No. 1” by living composer Jessie Montgomery on this program instead of the originally planned Ysaÿe Sonata. Montgomery, herself a violinist, wrote this piece in homage to the solo sonatas by Ysaÿe and the solo sonatas and partitas by Bach. Wild and tempestuous, this virtuosic new piece is a testament to the wide array of sounds, colors and moods the violin (or violinist!) is capable of achieving.

Pablo Casals called Romanian violinist George Enescu “the greatest musical phenomenon since Mozart.” Yehudi Menuhin referred to Enescu as “the most extraordinary human being, the greatest musician and the most formative influence.”

Heavily inspired by Romanian folk music, Enescu’s Violin Sonata No 3 is one of the most rhapsodic and freely expressive pieces in the repertoire. The piano takes on the roll of cimbalom and kobza, with lush chords, evocative strumming patterns, and folk-like rhythms. The violin sings and cries, bleeding with feeling and passion, and unlocks colors and sounds of the greatest fantasy.

Joshua Peckins hold a special affection for Enescu’s work, being connected teacher-teacher through the generations. Peckins’ teacher in Vienna, Michael Frischenschlager, was a student of Menuhin, who was himself Enescu’s star pupil.

The third sonata is heard less frequently on the live concert stage due to its staggering difficulty. Peckins and Akahori are delighted to share it with you as part of Art of the Recital: Rhapsondy!