A song for the emergence of thought / 28 July 2015 / 28 July 2015
The many friends of BCV associati and Giallo include SHE LIVES, a cultural association founded by Fabiana Piersanti, Guido Barbieri and Alessio Elia, who have taken on the task of familiarising their contemporaries with their music.
Indeed, as the project’s manifesto states, contemporaneity is not and cannot be considered merely one of many possible musical language categories but, on the contrary, is the very condition in which we are living. It is therefore inevitably the privileged vantage point from which one observes the soundscape: past, present and future.
SHE LIVES does not just organise concerts and is not limited to its own marvellous Festival!
It is committed to fighting any stereotype or bias that relegates so-called contemporary music to the realm of those few “in the know” and, in practice, to moving beyond the antiquated distinction between classical and popular music, art music and functional music.
Thus, SHE LIVES joined the University of Performing Arts in Mannheim, the Swiss Institute in Rome and the Società Aquilana dei Concerti B. Barattelli, in organising Le nuove vie dei canti (The New Songlines). This musical project, which lasted from March to September 2014, was sponsored and funded by the Ministry of Education, and involved primary and lower secondary schools on the island of Lampedusa.
We will have an opportunity to meet and listen to Guido Barbieri, Fabiana Piersanti, Alessio Elia and Gianni Trovalusci on Friday, 31 July at 11.00, in the Sala dei Medaglioni of the Santa Cecilia Conservatory in Rome. For the first time in public, SHE LIVES will present its present and future projects within the context of the SHE LIVES GOES TO THE RADIO STATION. A New Idea for the Music of Our Time initiative.
We’re rooting for SHE LIVES!, not least because we share the sentiments of composer Lasse Thoresen, who has said, “We live in times where cynicism is regarded as realism, and idealism is regarded as naïve. Nevertheless there are musicians and composers who despite meagre prospects for money or success perfect their art and give of their best. For these it is comforting that somebody – equally idealistic and unselfish – decides to assist and facilitate the music’s way from composer to the audience. The creator is never self-sufficient: a preserver or facilitator is needed, and the preserver is no less important than the creator”.