The San Francisco-based early music ensemble AGAVE presented a compelling program titled "Rum and Rebellion" at First Church Cambridge during the Boston Early Music Festival. Collaborating with countertenor Reginald Mobley, they explored the profound impact of the trans-Atlantic slave trade on 18th-century music. Through a selection of lesser-known composers, AGAVE highlighted the intersection of love, heartbreak, and historical injustices, offering poignant reflections on contemporary issues.

Unearthing Forgotten Composers and Their Stories

In their innovative performance, AGAVE and Mobley delved into compositions that have long been overlooked. By showcasing works from Haitian Creole poetry to Portuguese love songs, they revealed the deep connections between global commerce and colonialism in the 18th century. Each piece underscored the human cost of these systems, providing a fresh perspective on historical narratives often ignored by mainstream music history.

AGAVE's co-director Henry Lebedinsky provided insightful commentary throughout the evening, emphasizing how the music not only reflected the inequities of its time but also held relevant lessons for today. The ensemble performed pieces like Jean-Jacques Rousseau’s setting of "Chanson nègre," which poignantly depicted an enslaved man's longing for his lost love. Mobley's graceful rendition brought a haunting sincerity to this tale of despair and hope. Additionally, he performed three Modinhas, traditional Portuguese songs that painted vivid pictures of love and heartbreak, transporting the audience to the streets of 19th-century Rio de Janeiro.

Melding Sacred and Secular: A Musical Journey Through Time

The concert seamlessly blended sacred and secular elements, highlighting the influence of operatic styles on church music. Mobley's performances of motets showcased his exceptional vocal technique, particularly in José Mauricio Nunes Garcia’s "Te, Christe, solum novimus" and Esteban Salas’ dramatic setting of Job’s plea to God. These selections demonstrated the evolving musical landscape of the 18th century, where sacred and secular boundaries began to blur.

AGAVE's instrumental prowess was equally impressive, especially in their renditions of dance music from a 1785 Peruvian manuscript collection and Ignatius Sancho’s compositions. The ensemble's impeccable sense of rhythm and groove captivated the audience, while their lyrical grace shone through in Tomás Luis de Victoria’s motet Pueri Hebraeorum. The evening concluded with Joseph Boulogne’s spirited aria "Jouissés de l’allegresse," bringing a sense of joy and resolution to an emotionally charged performance. In an electrifying encore, Mobley sang Florence Price’s "Sympathy," connecting the themes of oppression and struggle across centuries. Through this powerful finale, AGAVE reminded us of the enduring relevance of these forgotten stories, bridging the past with the present.