A. T. Huerta plagiarizing Sor
After the publication of the book “A. T. Huerta Life and Works” in 2006 by Javier Suárez-Pajares and myself, we continued researching Huerta references and music. Recently I discovered an edition in Harvard Library with an unusual twist.
Enough new information has been uncovered that could generate a second edition on Huerta, but we have no plans to do so currently. I will start sharing this information on my website since it is unlikely it will ever be in print.
I have been searching for a few editions by Huerta which I’m certain were published in the US. All my searches have been unsuccessful. However, during one of these searches I ran across an edition I had never seen referenced. It showed up in a volume in the Harvard Theatre Collection which must have been recently acquired or cataloged since it had not shown up in previous searches. This volume is titled “Annie B. Lawrence volume of American music for the guitar, circa 1827-1845” and it contains 29 pieces of music all published in the US. The dating in the catalog is very rough and not always correct.
The first piece in the volume is by Huerta:
Adieu a son ami / Fantasie / for the / guitar / Composed & Dedicated to his Excellency / J.M. Salazar, / Minister of the Republic of Colombia to the U.S. of America / by / A. T. Huerta / op. 12. / Price $–25 / Published for the Author by G. Willig, Philadelphia.
Huerta was in the US from April 1824 through early 1826. The date in the Harvard catalog of 1845 for this publication is inaccurate as Huerta was never known to have published in a location where he wasn’t currently living. Another confirmation is José María Salazar held his post as Columbian Ambassador from 1823 to 1828. This edition then would have been published 1824-1825. I have been able to find a number of Willig catalogs from around this period but none of them mention Huerta.
While an unknown edition is intriguing in itself, even more so for this particular case is the fact that the music is not by Huerta at all! It is Sor’s Les Adieux Op.21. Brian Jeffery kindly pointed out that op.21 was composed in 1816 but not published until 1824-25. How did Huerta get a copy? Could he have known Vaccari and gotten a copy from him somehow?
It seems that with Huerta unexpected clues keep showing up which usually create more questions than answers.