Hugh Lane Gallery, Dublin

Ronan Guilfoyle – Nagyszentmiklós. Bartók – Sonata for Violin and Piano No 2. Ronan Guilfolyle – Sonata for Violin and Piano No. 2

Bartók's attention to Expressionism and the Second Viennese School was growing when he composed his two sonatas for violin and piano in 1921 and 1922.

And yet, although it's possible to imagine Bartók's interest in Schoenberg when you listen to these pieces, it's much easier to hear echoes of a very different voice not of that school.

The voice is Stravinsky's, whose use of short, primitive motifs and of ostinatos – famously in his Rite of Springof 1913 – found a kindred creative spirit in his Hungarian contemporary.

It is particularly easy to hear these echoes in the pulsing, edgy finale of the second sonata, played here with energy by violinist Michael d'Arcy and pianist Izumi Kimura in a recital they called "Celebrating Bartók".

They were lacking perhaps a little in bite, which came as a surprise following the intensity they established in the slow first movement.

Their programme also included a new piece in homage to Bartók by Dublin composer Ronan Guilfoyle.

Named Nagyszentmiklósafter the town where the composer was born 130 years ago, the 10-minute piece opened with atmospheric unison playing which soon moved into canonic forms and featured other Bartók trademarks such as pentatonic-flavoured motifs and bitonal relationships.

D'Arcy and Kimura gave committed performances of both this and of Guilfoyle's own jazz-informed Sonata for Violin and Piano No 2, which received its premiere here in the Hugh Lane in 2008.