Juan Antonio de Aragüés (1710-1793) is recorded as the harpist and organist of the music chapel of the University of Salamanca from at least 1738 onwards (although he possibly held these posts from as early as 1735). Aragüés systematically worked with a four-part choir and the typical baroque trio form (two violins and continuo accompaniment), which were eventually combined with a pair of horns and a pair of oboes or two. Although this orchestration moves towards the pre-classical galant style, it is typically Spanish and to a certain degree consciously backward-looking for its time (no oboes or violas are used). His use of the violin reflects a clear Italian influence. Melodic lines are clear and fluid; the harmony simple, almost rudimentary; and new keys are firmly established.

The repertory selected here serves as a significant sample of Aragüés’s output, including as it does four villancicos and three liturgical works, all with violins. The deeply moving five-part Salve may be considered baroque in its intentions and rhetoric resources, though its structure and part writing are pre-Classical. The 6-part Mass (1745) is missing the Agnus Dei; and the long, four-part Miserere psalm (1747) (totalling almost 14 minutes of music) is written using the traditional alternatim technique. The five-part villancico to the Blessed Sacrament Volad, atender ("Fly, fly to attend"; 1742), is one of the many works Aragüés composed with this title for the festivity the University celebrated on the third Sunday after Corpus Christi. Both the repertory and presentation are a pleasant surprise, in what is a highly commendable recording. ANTONIO EZQUERRO