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Giuseppe AGUS (1722 - 1798): Sonate a violino solo e basso [Op. 1]
Quartetto Vanvitelli
rec: Dec 3 - 6, 2021, Tavernago (Piacenza), Elfo Studio
Arcana - A531 (© 2022) (68'20")
Liner-notes: E/F/IT
Cover, track-list & booklet
Scores
Spotify
Allemanda 1 in D;
Allemanda 2 in D;
Allemanda 3 in D;
Allemanda 4 in G;
Allemanda 5 in F;
Allemanda 6 in F;
Sonata I in A, op. 1,1;
Sonata II in B flat, op. 1,2;
Sonata III in C, op. 1,3;
Sonata IV in G, op. 1,4;
Sonata V in F, op. 1,5;
Sonata VI in E, op. 1,6
Sources:
Sonate a Violino solo e Basso; Six Solos for a Violin with a Thorough Bass for the Harpsichord, [op. 1], 1751;
The Allemands danced at the King's Theatre in the Hay Market by Mr. Slingsby & Sigra. Radicate, To which is added Mr. Slingsby's Hornpipe, Set for the German-Flute, Violin or Harpsichord, 1767
Gian Andrea Guerra, violin;
Nicola Brovelli, cello;
Mauro Pinciaroli, archlute;
Luigi Accardo, harpsichord
For many performing musicians and/or composers, London was one of the places to be during the 18th century. Since the publication of the music of Arcangelo Corelli, especially representatives of the Italian style found a fertile soil for their art. One of them was Giuseppe Agus, one of the least-known of the Italian immigrants. His identity has caused much confusion, especially as he had a son who was also a violinist and had almost the same Christian names. The entries on father and son in New Grove are telling, as some biographical data are mixed up. The liner-notes to the disc under review bring clarity into the matter.
The composer whose music is performed here by the Quartetto Vanvitelli was known as Giuseppe Agus, but was baptised Gabriel Joseph Antonio in Cagliari, the capital of the Kingdom of Sicily. His father Vicenzo was a violinist in the municipal orchestra, the Cappella Civica. He was also the first teacher of Joseph, who later - then known as Giuseppe - was sent to Naples to further his studies. In 1742 he failed to obtain the post of first violinist in the Cappella Civica, and settled in London instead.
In 1748 Agus became a member of the Royal Society of Musicians, with the name of Gioseph (Joseph); at the time he was violinist at the King's Theatre, Haymarket. In 1749 his son Joseph Francis Agus was born. And here the confusion starts. In New Grove it is said that the son, after being convicted for an attempted rape, left the country for France. In fact, it was his father who went to France, and for an entirely different reason. He had become active as a businessman, probably selling musical instruments. In 1776 his firm was declared bankrupt; the year before he had already left London and settled in Paris. There he stayed for the rest of his life; in 1795 he was appointed maître de solfège at the Paris Conservatoire; not his son, as New Grove has it. The latter rather continued to make a career in London, joining the Royal Society of Musicians in 1781.
Giuseppe Agus's oeuvre falls into two categories. The largest consists of chamber music for strings, with a central place for one or two violins. The second category comprises dances, the result of his connection with the music theatre. The printed editions of his oeuvre were published in London, and he continued to publish music there after his settlement in Paris.
The Six Solos Op. 1 date from 1751, and were later reprinted with a dedication to 'His Excellency the Count of Haslang'. Joseph Franz Xaver, Count of Haslang (1700?-1783) was appointed Bavarian ambassador to London in 1739 and remained in this post until his death. These sonatas are in three movements, except the Sonata V in F, which has four movements. The first movement is in a slow (largo, larghetto, adagio, grave) or moderate (andantino) tempo. The next two are in a fast(er) tempo. Three sonatas end with a minuet; the one that closes the Sonata VI in E is a set of variations, as is the andante that closes the Sonata I in A. The andantino grazioso from the Sonata V is notable for its harmonic pecularities, and the adagio that opens the Sonata III in C for its dramatic contrasts. These sonatas show the influence of Agus's activities in the theatre, but also bear witness to his techical skills. Double stopping is a fixed part of this set of sonatas.
Agus's Op. 1 makes curious about other parts of his oeuvre; it is to be hoped that this is not the last that we hear of him. These sonatas are in the best of hands with the Quartetta Vanvitelli, whose previous recordings I have very much enjoyed. That is the case here as well. The playing is technically brilliant, colourful and energetic; the dramatic contrasts come off to the full. In many movements the players add little cadenzas, either played on the violin, the cello or the harpsichord.
At the end we come to more playful stuff: six allemandes, which represent the other category in Agus's oeuvre. These are played by the various instruments of the ensemble. They are a nice counterpoint to the sonatas, and are well-written.
Once again, the Quartetto Vanvitelli has produced a compelling disc with music that deserves to be performed and recorded.
Johan van Veen (© 2024)
Relevant links:
Quartetto Vanvitelli