Texte paru dans: / Appeared in:
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Goldberg, no. 15, Spring 2001
(Goldberg has ceased publication - The internet site has been deleted)
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TRAVEL NOTES 2

Cremona, 25th May 2001

Music given World Heritage status

In fact, culture resides less in a heritage than the way in which it has to be valued, and this manner of valuing it entails a project, which implies a will. We thus have a circle: this will, capable of reviving a culture, should in itself stem from a culture, a tradition, from its values.

Jean-Marie Domenach, Europe: le défi culturel

The recent UNESCO decision to declare the performance of the Misteri d’Elx an intangible and oral part of World Heritage is an important event for various reasons. Firstly, it is a well-deserved distinction, an honour that can be extended to the whole town of Elche, which has kept alive a very old tradition. In particular, it recognises the work of the singers, musicians, actors and members of the organising committee who have lovingly, tenaciously, sensitively and generously recreated it, spiritually and artistically, year after year.

Thus, a musical presentation, conserved in part by oral tradition and by its ephemeral essence (since it only exists while it is being performed), is considered on the same level as the great masterpieces such as cities, towns, religious temples and architectural precincts created by man throughout history .

Secondly, this award comes as a great satisfaction to all those who admire the Misteri d’Elx, as well as music (especially early music) lovers in general, as it has been made by such an important international organisation. It confirms comparison between tangible and intangible artistic traditions and clearly recognises the artistic and spiritual value of the intangible, with music being one of its most universal and extraordinary components.

This value is based on various essential aspects:

The need to conserve, catalogue and give scholars and researchers access to the music held in libraries and state archives, local communities, cities, churches and private entities.

The need to artistically train and educate performers, who are essential in order to give new life to the best and most representative music from different historical periods.

And finally, the need to provide an adequate level of support to a 1000-year-old heritage, of irrefutable world-wide interest, and the search to find original solutions to the new circumstances in which these activities should be pursued.

Let’s hope that the public, ecclesiastic and private-sector authorities, faced with the enormous responsibility of conserving this heritage, will become increasingly aware and active in its preservation, diffusion and defence in the face of its destruction and the danger of falling into oblivion. The creation and development of the infrastructures required for musical research, publication, education and diffusion is essential. Music’s extraordinary spiritual dimension and its relationship with the history of mankind forms part of the living memory and deep roots of a people who have contributed to the evolution of civilisation and will continue to do so.

Translated by Yolanda Acker