Emer Nestor takes a look at the programme for Music Networks November tour with an additional note on our new Music Network commission from composer Gráinne Mulvey.
Partita for Violin No. 2 in D Minor,
BWV 1004
V. Ciaccona
Johann Sebastian Bach stands as one of the most esteemed musical titans of the eighteenth century. His works transcend the boundaries of time and culture, leaving an indelible mark on both his contemporaries and the generations that followed. A master of counterpoint, Bach's integration of harmonic complexity, formal innovation and theological depth epitomises Baroque musical expression. His genius not only transformed the musical landscape of his era but remains a dynamic influence on how we understand and engage with music of the twenty-first century.
A monumental and revered work in the violin repertoire, Bach’s fifth and final movement, Ciaccona (or Chaconne), from his second Partita for Violin, exemplifies his mastery of form, counterpoint and expression. Written between 1717 and 1720, during Bach’s six-year tenure as Capellmeister to Prince Leopold of Anhalt in Cöthen, this movement is both a formidable technical challenge for the solo violinist and a profoundly expressive meditation. It distinguishes itself within the vast repertoire of violin compositions as a work of singular significance, unparalleled by most in the instrument’s history. Viewed by some as a musical epitaph for Bach’s first wife, Maria Barbara Bach, who died unexpectedly in 1720 at the age of 36, the piece is one of restlessness and melancholy.
The Ciaccona (a dance in triple metre) opens with a simple, four-bar ostinato that serves as the foundation for the following variations (depending on the analytical approach, some musicologists count every distinct musical idea or phrase as a separate variation leading to the count of 64 four-bar variations, while others group similar ideas together to arrive at 31 eight-bar variations with a longer final variation and coda). Nonetheless, these variations are wide-ranging in texture and character, presenting everything from dense polyphony to moments of lyrical simplicity. Remarkably, Bach achieves a full contrapuntal texture on a single instrument, implying harmonies and multiple voices in ways that defy the limitations of the solo violin. The movement is cast in three distinct sections — D minor, D major and D minor. The interplay between these tonalities creates a powerful dramatic arc, as Bach moves from darkness to light and back, drawing the listener through a vast emotional landscape.
Sonata for Violin No. 32 in B-flat Major, K.454
Largo — Allegro
Andante
Allegretto
Widely regarded as one of the most brilliant composers of the Classical era, Wolfgang Amadeus Mozart’s prolific output continues to captivate audiences and scholars alike. His compositions reflect a remarkable blend of lyrical beauty, structural clarity and emotional richness, bridging the transition from the Baroque to the Romantic periods. A virtuoso in multiple genres, Mozart’s operas, symphonies, chamber works and sacred music demonstrate an unparalleled command of form and melody. His artistic vision not only redefined the possibilities of musical expression in his time but also set enduring standards that continue to influence contemporary music-making and scholarship.
Composed in 1784, the Sonata for Violin was written for the Italian violin virtuoso Regina Schlick (née Strinasacchi, c.1761-1839), who premiered it alongside Mozart on piano in Vienna, in the presence of Holy Roman Emperor Joseph II (1741-1790). This sonata illustrates a unique equilibrium between the violin and piano, pushing the boundaries of the classical sonata form. At the time of its composition, Mozart was actively seeking to elevate the status of the violin-piano duo. While earlier sonatas had treated the violin part as an accompaniment to the keyboard, the K. 454 sonata features both instruments as equal partners in an elegant, dialogical exchange.
The composition follows the traditional three-movement sonata structure. Unusually, the first movement opens with a majestic Largo led by the violin, which is almost orchestral in texture, setting a dramatic tone before transitioning into the more spirited Allegro. Here both instruments share melodic material, often trading phrases in an elaborate discourse that reflects their balanced partnership. The second movement is a lyrical Andante in E-flat major, which contrasts the energetic first movement with its expressive cantabile (singing) lines. The piano introduces the main theme, supported by gentle violin commentary. Mozart's handling of harmonic colour is especially noteworthy here, while the delicacy of the interaction between both instruments blends elegance with restraint. The finale, Allegretto, returns to the home key of B-flat major and features a playful rondo form (where a recurring main theme alternates with contrasting sections). Its buoyant character and rhythmic vitality underscore Mozart’s penchant for combining light-heartedness with technical brilliance. The violin and piano engage in witty, often contrapuntal tête-à-têtes that demonstrate both performers’ virtuosic capabilities.
Sonata for Keyboard in D Minor, K.1
Domenico Scarlatti, the Italian composer and harpsichordist, was pivotal in the development of Baroque keyboard music. Born in Naples in 1685, his prodigious talents led him to serve as a court musician in several prominent European cities, including Madrid and Lisbon. His 555 keyboard sonatas, divided into two collections — Parma and Venice (from the cities to whose libraries these manuscripts belong) — were pioneering in their exploration of the tonalities and technical possibilities of the harpsichord. Written primarily during his time in Spain, the sonatas reflect his skill in counterpoint alongside his innovative use of rhythm, form and harmonic exploration, often inspired by the Iberian folk music he encountered.
The Sonata in D minor, the first sonata in the Kirkpatrick catalogue, is a foundational example of Scarlatti’s compositional style. Written likely around 1738, this early work illustrates his distinct departure from the Italian Baroque tradition and his embracement of a forward thinking, proto-Classical aesthetic. K. 1 is a compact, single-movement work structured in binary form, where each half is repeated — a hallmark of Scarlatti’s sonatas. The piece opens with an unmistakable clarity in its D minor tonality, immediately establishing a bold rhythmic drive through rapid ascending and descending arpeggios. The harmonic language of the piece, though embedded in tradition, is notable for its unexpected modulations and dissonant suspensions, contributing to the dramatic tension.
The sonata’s technical demands, including rapid passagework, hand-crossing and intricate ornamentation, display Scarlatti's inventive treatment of the keyboard. These elements anticipate later developments in keyboard virtuosity, influencing composers such as Beethoven and Liszt. In this sonata, Scarlatti’s juxtaposition of fiery brilliance (in the Baroque style) and lyrical introspection draws a clear parallel to the improvisatory nature of Spanish guitar music, subtly embedding cultural idioms into a formal European structure.
Sonata for Keyboard in B Minor, K. 27
The Sonata B minor, belongs to the Essercizi per Gravicembalo — a collection of sonatas that Scarlatti wrote during his time as music tutor to Maria Bárbara (1711-1758), Princess of Portugal and later Queen of Spain. Scarlatti’s time in Iberia deeply shaped his musical style, weaving the rhythms, harmonies and decorative elements of Spanish folk music into his works. These influences are subtly felt in K. 27, where complex cross-rhythms, rapid scale passages and unexpected modulations challenge both performer and listener.
K. 27 is a one-movement sonata, composed in binary form (A-B). Like many of Scarlatti’s sonatas, it defies the Classical sonata-allegro model later solidified by Haydn and Mozart. Despite this formal simplicity, the work brims with a variety of emotional and technical contrasts. The first section begins in B minor with a haunting, lyrical theme that highlights Scarlatti’s affinity for melodic invention. The ornamented lines call for both clarity and expressive control. As the piece progresses, unexpected harmonic shifts move the music towards the dominant, F# minor, before transitioning to the second half, in which striking chromatic passages and the dramatic use of diminished chords imbue the music with an intensity that is atypical of early keyboard sonatas. The work eventually winds its way back to B minor, creating a sense of symmetry and closure.
Sonata for Violin and piano, H. 127
I. Lentamenta e con molta fantasia
Catalan composer and pianist Enrique Granados is often recognised for his contribution to Spanish nationalism in music, blending the traditions of his homeland with a distinct late-Romantic style. While he is best known for his piano works, especially Goyescas and his Danzas Españolas, his output for other instruments reveals an equally sophisticated and intimate approach to chamber music. The Sonata for Violin and Piano is one of the lesser known works in his catalogue, yet it provides insight into Granados’ lyrical expressiveness and imaginative use of form and harmony.
Composed in 1913 for his friend, French violinist Jacques Thibaud (1880-1953), this Sonata stands somewhat apart from the prevailing trends of Spanish nationalism in its treatment of the violin and piano as equal partners. Rather than foregrounding the folkloric elements characteristic of much of his work, Granados places a greater emphasis on the evocative and poetic qualities of the instruments. The opening tempo marking, Lentamente e con molta fantasia (‘slowly and with much imagination’), signals a movement that eschews formal rigidity in favour of a freer, almost improvisatory flow. Granados uses the sonata form as a loose framework, but his treatment of thematic material and harmony here is highly flexible. The movement begins with a delicate and introspective theme in the piano, which the violin soon echoes, giving rise to the emergence of a lush atmospheric soundscape, immersing listeners in a lyrical and dreamlike world.
The interplay between violin and piano is central to the movement’s effect. Granados avoids making either instrument dominate the texture, instead allowing them to intertwine in an organic manner. The violin often takes on a singing, vocal quality, especially in its upper register, while the piano supplies a shimmering harmonic foundation and moments of understated virtuosity. The overarching impression of fantasia is heightened by Granados' use of rubato and varied phrasing, which gives the music an elastic, unpredictable quality.
Despite the movement’s relatively subdued and reflective character, it also contains moments of drama and tension. These are often achieved through sudden dynamic contrasts, unexpected harmonic shifts, or the occasional surge in tempo, which briefly disrupts the otherwise flowing, meditative character of the music. Yet these moments never feel out of place, as Granados masterfully integrates them into the broader structure of the movement, maintaining a sense of cohesion even as he explores diverse emotional terrains.
Sonata for Violin No. 2 in G major, Op. 82 (‘Española’)
Lento – Tema – Variations 1-3 – Andante
Vivo
Adagio – Allegro Moderato
Seville-born Joaquín Turina is noted as one of the key figures in twentieth-century Spanish music, alongside contemporaries such as Manuel de Falla (1876-1946) and Isaac Albéniz (1860-1909). Described by musicologist Carlos Gómez Amat (1926-2016) as a ‘kind man, who loved simplicity and beauty’, Turina’s work blends the musical traditions of Spain with a refined European idiom, shaped somewhat by his studies in Paris in the early years of the twentieth century. During this time he absorbed the influences of Vincent d’Indy (1851-1931), César Franck (1822-1890), and Claude Debussy (1862-1918). While his harmonic language is cosmopolitan and rooted in the French post-Romantic tradition, Turina is best remembered for infusing his compositions with the unmistakable flavour of his native Andalusia.
During his tenure as Professor of Composition at the Madrid Conservatory, Turina crafted his Sonata for Violin and Piano No. 2 in G major, subtitled Española (‘Spain’) in 1933. Dedicated to the Spanish-born American conductor and composer, Pedro Sanjuán (1886-1976), the sonata is a vibrant and expressive work that displays Turina’s expertise in form and harmonic colour.
The first movement opens with a lyrical and introspective lento melody presented by the violin over a sumptuous chordal piano accompaniment. The violin then states the central theme before the piano enters with a delicate questioning musical idea, as both instruments weave seamlessly across the staves. Three variations follow — Allegretto, Andante and Moderato — each exploring different textures and moods. Both instruments take turns leading and accompanying, creating an opulent tapestry of sound, where the roles of melody and harmony are fluid and interchangeable. The movement closes with a return to the opening lento musical ideas.
The second movement (Vivo), seasoned with lively rhythmic vitality, features contrasting sections that oscillate between energetic, dance-like passages and more lyrical, reflective moments. Here, the piano often provides a driving rhythmic foundation, while the violin laces chic, gossamer lines above. During the contrasting lyrical moments, the dialogue between the two instruments becomes more conversational. Turina’s deep connection to his cultural heritage permeates throughout.
The final movement (Adagio) begins with a slow, expressive introduction that leads to a spirited and vigorous Allegro Moderato, showcasing the technical prowess of each instrument. The dynamic contrasts and rhythmic drive create a sense of excitement and tension, culminating in a powerful, cohesive conclusion.
Zigeunerweisen, Op. 20
Seville-born Joaquín Turina is noted as one of the key figures in twentieth-century Spanish music, alongside contemporaries such as Manuel de Falla (1876-1946) and Isaac Albéniz (1860-1909). Described by musicologist Carlos Gómez Amat (1926-2016) as a ‘kind man, who loved simplicity and beauty’, Turina’s work blends the musical traditions of Spain with a refined European idiom, shaped somewhat by his studies in Paris in the early years of the twentieth century. During this time he absorbed the influences of Vincent d’Indy (1851-1931), César Franck (1822-1890), and Claude Debussy (1862-1918). While his harmonic language is cosmopolitan and rooted in the French post-Romantic tradition, Turina is best remembered for infusing his compositions with the unmistakable flavour of his native Andalusia.
During his tenure as Professor of Composition at the Madrid Conservatory, Turina crafted his Sonata for Violin and Piano No. 2 in G major, subtitled Española (‘Spain’) in 1933. Dedicated to the Spanish-born American conductor and composer, Pedro Sanjuán (1886-1976), the sonata is a vibrant and expressive work that displays Turina’s expertise in form and harmonic colour.
The first movement opens with a lyrical and introspective lento melody presented by the violin over a sumptuous chordal piano accompaniment. The violin then states the central theme before the piano enters with a delicate questioning musical idea, as both instruments weave seamlessly across the staves. Three variations follow — Allegretto, Andante and Moderato — each exploring different textures and moods. Both instruments take turns leading and accompanying, creating an opulent tapestry of sound, where the roles of melody and harmony are fluid and interchangeable. The movement closes with a return to the opening lento musical ideas.
The second movement (Vivo), seasoned with lively rhythmic vitality, features contrasting sections that oscillate between energetic, dance-like passages and more lyrical, reflective moments. Here, the piano often provides a driving rhythmic foundation, while the violin laces chic, gossamer lines above. During the contrasting lyrical moments, the dialogue between the two instruments becomes more conversational. Turina’s deep connection to his cultural heritage permeates throughout.
The final movement (Adagio) begins with a slow, expressive introduction that leads to a spirited and vigorous Allegro Moderato, showcasing the technical prowess of each instrument. The dynamic contrasts and rhythmic drive create a sense of excitement and tension, culminating in a powerful, cohesive conclusion.
Light Scattering
This is the latest in a series of pieces I have written over the past few years inspired by the work of the eminent scientist John Tyndall (1820-1893), who was born in my home town of Leighlinbridge, Co. Carlow. Physicist, surveyor, mountaineer, climatology pioneer (he was one of the first to describe the greenhouse effect) and indefatigable communicator—among his duties as Professor of Natural Sciences at the Royal Institution was to give public lectures, including the annual Christmas Lectures for Young People that had been established by his predecessor and mentor Michael Faraday and which continue to this day. His demonstrations and lectures were a big draw:
'When he lectures at the Royal Institution the theatre is crowded—not, as might be
supposed, by blue stockings, severe as to look and angular as to outline, by ancient
men with long back hair, and younger aspirants with bulbous foreheads, but with the
men and women of the great world—the people who help to make society and
history.' - Yates, E.H. ed.: Celebrities At Home, London 1877
The present work takes its title from Tyndall’s Six Lectures On Light, delivered in the USA in 1872-73 and published in book form in 1885. Tyndall described how light can be scattered by particles suspended in a fluid, be it liquid in a test tube or gases in the atmosphere, a phenomenon that explains the blue of the sky and the crimson splendour of dawn and sunset. These ideas are translated into an analogous “scattering” of the different parameters of musical material—rhythm, counterpoint, harmony, register, timbre, texture—all interacting to produce new combinations, the resultant “hybrids” in turn subject to the same processes. Moments of stasis and stability represent the pure light passing through the medium undisturbed, while the “scattered” light is paralleled by varying degrees of activity and distortion. Just as the different colours of the spectrum may be seen when white light is split by a prism or diffraction grid, so the different sound colours frequently emerge simultaneously, sometimes harmoniously, sometimes as a startling contrast. The exploration of the spectrum between the extremes forms the real musical substance of the piece.
