Bachiana Mexicana No. 5 for Strings, Timpani and Solo Violin (2017)
This work was originally composed in 2017 for strings, timpani and solo clarinet. In this version, it premiered at MusicFest Aberystwyth, University of Wales, UK, on July 27, 2019. Shortly thereafter, Venus Rey Jr. composed a version for solo violin, which has since been successfully performed in Mexico and Italy.
The title Bachiana Mexicana reflects the fusion of Baroque forms with elements of Mexican music, culture and art.
The first movement is a Passacaglia, a popular Baroque form developed in France, Spain and Italy. It is built on an ostinato bass and follows an A-B-A structure, ending with a dramatic coda.
The second movement, Saudade, is lyrical in nature. The Portuguese word saudade is difficult to translate precisely, but it conveys a feeling of melancholy, yearning and nostalgia. The material introduced in the coda returns in the final movement.
The third movement, Sandunguita chueca, is based on La Sandunga, a well-known song from southern Mexico. The nostalgic atmosphere of Saudade is reflected here. Although the original Sandunga is a waltz, the composer employs both 5/4 and 3/4 time signatures in this reinterpretation, transforming the Sandunguita ("little Sandunga") into chueca, which means "crooked" in Spanish. This movement also serves as a musical portrait of Mexican painter Frida Kahlo.
The final movement is a Tarantella, a lively dance typical of various southern Italian regions, including Campania, Puglia and Calabria. Characterized by its fast tempo and triple meter, the Tarantella reflects the composer's deep affection for Italy – he has extensively studied the Italian language and folk music. The closing section is a brilliant tour de force, demanding much from both the soloist and the ensemble.