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 27 July 2019. Shortly afterward, Venus Rey Jr. created a version for solo violin, which has since been performed successfully in Mexico and Italy.
The title Bachiana Mexicana reflects the fusion of Baroque-era 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, concluding with a dramatic coda.
The second movement, Saudade, is lyrical in character. The Portuguese word saudade is difficult to translate precisely, but it conveys a sense of melancholy, longing, and nostalgia. The material introduced in the coda reappears in the final movement.
The third movement, Sandunguita chueca, is based on La Sandunga, a well-known song from southern Mexico. The nostalgic mood of Saudade is echoed here. Although the original Sandunga is a waltz, the composer employs both 5/4 and 3/4 meters in this reinterpretation, transforming the Sandunguita (“little Sandunga”) into chueca, meaning “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 several southern Italian regions, including Campania, Puglia, and Calabria. Characterized by its fast tempo and ternary meter, the Tarantella reflects the composer’s deep affection for Italy—he has studied the Italian language and folk music extensively. The closing movement is a brilliant tour de force, demanding for both the soloist and the ensemble.
Four Mexican pieces for solo violin (2023)
Composed in February 2023, Four Mexican Pieces for Solo Violin is a virtuosic set that explores the intersection between national identity and personal expression. Dedicated to the Italian violinist Gianfrancesco Federico, the work demands both technical mastery and a deep emotional understanding of Mexico’s complex musical soul.
Across its four movements, echoes of Mexican folk idioms—their rhythmic asymmetries, modal inflections, and bittersweet lyricism—permeate the writing. Yet these are not quotations or arrangements: they are transformations, fragments of memory filtered through a contemporary, introspective lens.
I. Jolgorio. Jolgorio means revelry, a celebration bursting with color and excess. In Mexican culture, however, joy and tragedy often coexist—an awareness of mortality within festivity. The music captures this tension through abrupt contrasts, shifting meters, and fleeting moments of melancholy that pierce the surface of exuberance.
II. Jiribilla. The term jiribilla—peculiarly Mexican and difficult to translate—suggests restlessness, cunning, or a mischievous spark. Drawing inspiration from the son huasteco of eastern Mexico’s Huasteca region, the movement evokes the violin’s improvisatory flair and emotional extremes: dazzling virtuosity, playful slides, and sudden bursts of rhythm that conceal intricate inner patterns.
III. Lejanía. Slow and meditative, Lejanía (distance, remoteness) offers a stark contrast. It speaks of longing and resignation, of something beautiful glimpsed only from afar. The melodic lines unfold as if from memory—fragile, suspended, and dissolving into silence.
IV. Jaripeo. The final movement begins with a brief fugue—symbol of order—before surrendering to the chaos of a relentless moto perpetuo. The title refers to jaripeo, the rodeo of western Mexico, in which a rider struggles to tame a wild bull. The violin becomes that rider: defiant, unyielding, yet vulnerable to the forces it seeks to master.
Four Mexican Pieces for Solo Violin stands as both homage and reinvention—a journey through Mexico’s emotional landscape, where rhythm and sorrow, vitality and introspection, are forever intertwined.
String Quartet No. 1 “Jewish” (2017)
Premiered on December 3, 2017, at the McAllen Public Library in McAllen, Texas, String Quartet No. 1 “Jewish” stands as one of Venus Rey Jr.’s most personal and compelling statements. Deeply inspired by the musical and spiritual traditions of the Jewish people, the quartet is both a tribute and a reflection — an exploration of memory, suffering, and resilience transformed into pure sound.
An admirer of Yiddish, Sephardic, and Klezmer idioms, Rey does not quote traditional melodies directly; instead, he reimagines their expressive vocabulary within his own modern language. The result is a work of remarkable emotional depth, in which lament and dance, ritual and catharsis, coexist in fragile balance. At its heart lies a “Jewish motif” — a distinctive melodic and rhythmic cell that recurs throughout the quartet, functioning as a leitmotiv that binds the four movements into a single, overarching narrative.
I. Intenso. The opening movement, in E minor, establishes both the emotional and structural core of the work. Complex in its architecture, it alternates between regular and irregular meters, creating a persistent sense of instability. The atmosphere remains dark and charged, as if carrying the weight of an ancient lament. Midway through, the principal Jewish motif emerges — a theme whose chromatic inflections and asymmetrical rhythm evoke the expressive cry of Klezmer music. This motif will become the spiritual thread of the entire composition.
II. Molto vivace. Brutal and dissonant, the second movement confronts the listener with sonic violence. It evokes the persecution of the Jewish people during the Holocaust: the bombing of cities, the terror of imprisonment, the blind rage of totalitarianism. Harsh rhythms and dense counterpoint depict chaos and destruction. The movement’s relentless energy offers no consolation — it is a musical remembrance of human cruelty and the endurance of faith under unimaginable pressure.
III. Jewish Theme. After the turmoil, the third movement offers a moment of introspection and remembrance. Here, the Jewish theme appears in its most lyrical form, directly inspired by Klezmer phrasing and, as the composer notes, by the music of Fiddler on the Roof. Written again in E minor, it becomes a meditation on identity and memory — a lament that sings rather than cries. The music’s ornamentation and flexible pulse recall the expressive gestures of the cantor, bridging the sacred and the secular, the personal and the collective.
IV. Finale – Towards the Light. The finale represents renewal and transcendence. Returning to the structural breadth of the first movement, it unfolds through multiple sections rich in harmonic contrast and rhythmic irregularity. Slowly, the musical tension gives way to radiance: the Jewish motif reappears, now transformed, as if purified by the journey through darkness. A vast coda — over one hundred bars long — drives the quartet toward a luminous conclusion, symbolizing the perseverance and spiritual victory of a people who have endured and prevailed.
Beyond its programmatic associations, String Quartet No. 1 “Jewish” is also a profound study in thematic transformation and cyclical design. Its recurrent motif functions not only as a musical device but as a metaphor for memory itself — a sound that refuses to vanish, continually reshaped by history yet never silenced. In this sense, the quartet stands as a spiritual memorial: a work that transforms suffering into art and affirms, through music, the unbroken continuity of human dignity.
Musicians
Gianfrancesco Federico, Violin I
Angelina Perrotta, Violin II
Benedetta Santelli, Viola
Angelo Federico, Cello