A few days from the anniversary of the birth of Boccherini, in Lucca, I meet the Secretary-General of Centro Studi Opera Omnia Luigi Boccherini and I take this opportunity for a brief interview.
When was the Study Center born? Who had the idea and how did he manage to turn his idea into reality?
The Centro Studi Opera Omnia Luigi Boccherini was founded in November 2005 with the aim of first of all curating the editorial work of the Opera omnia of Luigi Boccherini. The choice of the city is not casual: Boccherini was born in Lucca, so the Tuscan city was the ideal place to launch the Edizione Nazionale Italiana of his complete works.
The idea was born within the founding members – Roberto Illiano, Fulvia Morabito, Massimiliano Sala – all already collaborators of the Stichting-Fondazione Pietro Antonio Locatelli (Amsterdam-Cremona). On the death of Professor Dunning, who was managing the Fondazione Locatelli and who first promoted the project for a Boccherini edition, it was decided to take over the activities of the Fondazione itself, transforming it into a body governed by Italian law. We have therefore set up a non-profit organization in Lucca together with Professor Christian Speck, who directs the Edizione Nazionale Boccherini, carrying on the publishing heritage of the Locatelli Foundation, extending its contents and developing further activities with the opening of international Masterclass of works, organization of conferences and more.
Who worked for the realization of this project?
Many people worked on the project: firstly the steering committee, as well as all honorary members (Lorenzo Frassà, Massimiliano Locanto, Simone Luti, Leon Plantinga, Ruldolf Rasch, Sophie Louise Roland, Luca Lévi Sala). To these, we can add the members of the scientific committee of the Boccherini, Locatelli and Geminiani editions, the members of the various editorial committees of our series and of the scientific committees of our conferences. Thanks to the support of internationally renowned musicologists, the Centro Studi has become in a few years a center of excellence in the international musicological research scene. Today, 13 years after its establishment, the Study Center is recognized as one of the few Italian musicological realities that can boast a rich editorial and scientific production and has been accredited as a “Cultural Institute” by the Ministero dei Beni Culturali.
What were the main difficulties to overcome and what were the results achieved?
The greatest difficulty was to be able to find credit in the Italian cultural scene. The Italian musicological reality has undergone a profound change in the last decade due to economic and social changes in place in our country. As often happens in other fields, Italy has adapted very slowly to these changes, remaining tied for too many years to the idea of a welfare state. Instead, the Centro Studi has brought forward the idea of a culture that participates in the enhancement of the territory, both in qualitative and quantitative terms. We have created many tourist flows linked to cultural initiatives: our international conferences see active participation of over 150 participants every year, from every part of the world, and our summer Masterclasses bring about a hundred people to the territory for a period of time. which extends from June to mid-August.