Enlightened publishers

Recently, in the midst of this travelling through libraries, catalogues, manuscripts and researching contemporary sources, I become more and more convinced of the historical importance of certain composers and of the artistic value in scores unknown to most people; at the same time, I believe even more that these works should deserve more than my curiosity, but a legitimate place (and support) in the publishers’ choices. It is true, we are living a time of unprecedented economic crisis, but it is also true that many foreign countries and their institutions have considered these initiatives as an opportunity for investment, as cultural heritage worthy of fundraising and public support. I can only wish that this would happen to some Italian project soon or later.
I have to admit that a very little part of my research and of the material I have been able to perform so far would have been possible without the editorial and intellectual support of Sony Music Italia’s managers.
Years ago, by sheer coincidence, I met Luciano Rebeggiani, managing editor of Italia Sony Classica e Jazz; I did not know the internal dynamics of a major recording label, and I am still not clear about them today, but I vividly remember my enthusiasm in that first meeting, realizing that the editorial policy he offered me could perfectly match the purpose of my projects. Luciano is in fact the father of the label “Opificio Italiano dei Classici” (Italian Factory of the Classics), a trademark of the publishing activity he promotes in order to bring to public attention recordings of mostly unpublished, or rarely performed, works by eighteenth century Italian composers, in the performance of Italian artists.
From a first series of meetings, the possibility to collaborate was established and to realize my first Sony Music CD: Boccherini’s Stabat Mater.
The enthusiasm and constant support of Luciano on the Sarti project, and his excitement to every update I would give him about scores and possible performances, have been essential to producing this last CD. Meanwhile, Luciano has brought Marco Marcarini, Label Manager Sony Classica Italia, into the team.
Although the crisis has been affecting the recording labels too for years now, I believe these people’s work should deserve the acknowledgement of music lovers and of the market.
In fact, the awareness and the competence of such professional figures automatically triggers a weird speculation mechanism at every meeting, so that, at least in theory, new recordings of newly discovered Italian scores constantly start to be planned; but then, one has to face many difficulties in the producing process. I am convinced, though, that per aspera ad astra we will find together the path to new publishing peregrinations.