Benito Campo in context: Dionisio Aguado’s Lacôte and Laprevotte Guitars

We all know that Aguadowas a close friend of both the Muñoa brothers, two guitar makers who had their workshop at Calle Angosta de Majaderitos, very near Puerta del Sol in Madrid(1).

Manuel Muñoa dies in 1815, and his brother Juan in 1824, the same year of the death of Aguado’s mother. Aguado leaves for Paris the following year, 1825. When Aguado returns from Paris to Madrid in 1839(2), the Muñoa workshop is in the hands of Benito Campo who had married one of the daughters of Juan Muñoa, Rosa Muñoa, in 1827. Since his return to Madrid, Aguado develops a close friendship with Benito Campo, probably closer than the one he had with the Muñoa brothers (Campo was only six years younger than Aguado). This friendship will be the main reason for Campo being one of Aguado’s most reliable relationships.

https://gildeavalle.wordpress.com/2015/02/16/2325/

Benito Campo had several children. Two of them, two sons, Agustín and José, were guitar students with Aguado, and later would be involved in running the family business. When Aguado dies, in 1849, both brothers were under age, José was 17 and Agustín only 15.

Aguado’s will:

Testamento de Dionisio Aguado
In his will Aguado names as his executors three people, one of them Benito Campo (lower left corner), and gives the two Campo brothers, Agustín and José, all his music.

After referring to Benito Campo, Aguado writes:

My big maple guitar, made by Lacote [sic], will be given to his son and my dear student, and it is my wish that he keep it as a memory of his Master. To him and to his brother José I give all my music and all the books dealing with it.

Daniel Gil de Avalle & Rene Lacote

https://gildeavalle.wordpress.com/2015/09/08/rene-lacote-dionisio-aguado-guitar-daniel-gil-de-avalle-guitar-maker/

So, here we have one of the answers: in 1849 (in fact, in January or February 1850) all the musical library of Dionisio Aguado moved to the Campo family.

Dionisio Aguado Lacote and Laprevotte guitars
Here is the reason for the dedications by Gómez Parreño to the Campos, and the music later than 1850 or not directly related to Aguado’s personal library in the Huidobro collection: The personal music library of Dionisio Aguado was integrated into the music library of the Campo family.

In February 16th 1850 Campo has printed the Apéndice and starts to advertise it. In his advertisements he is the only one authorised to print and sell Aguado’s music and threatens with prosecution to all eventual competitors.

As far as I know, the only legal document the Campos had to support this right was the 19-word text in the hand of Aguado that you have seen: Aguado’s will. They had this text and obviously the music itself.

Probably, this was the reason why the Campos did not obtained Aguado’s total and legal rights until May 20th 1893(4).

If between 1850 and 1893 the Campos were fighting for the rights of Aguado’s music with only the disposition in Aguado’s will, we have to think that they would never sell, or get rid of the original music and books of Aguado, because the books and the music would be a good proof of their rights.

But in the second decade of the 20th century, first José and then Agustín, both the two Campo brothers died…

—————————-
Notes

(1) The two guitars, both in the hands of the young guitarist and on the wall, which we can see in the engravings of the different editions of the Escuela de Guitarra are instruments by the Muñoas.

(2) Aguado’s return to Madrid could have taken place during the last three months of 1838.

(4) By the way, three months before Andrés Segovia’s birth.

Source: http://guitarra.artepulsado.com/foros/archive/index.php/t-21433.html

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