«Fortunately, someone will succeed in time in bringing the pure work of art to life, recognizing its intrinsic value and giving it the right amount that it deserves». With these words, Romolo Ferrari concluded his short biography on Fernando Sor: in this, we find the authentic meaning of research intended as an act of intellectual honesty, and together the affirmation of the importance of bringing the work of art ‘back to life’, because it's only in performance of the music that we find its true fulfillment. In sharing this thought, the present project is an attempt to give a contribution to the valorisation of the art of the guitar through both historical investigation and the growing awareness of significant, but lesser known, music for the instrument.

The contributions of concert performers and scholars will be able to be shared with the intention to more deeply understand the aspects that still need to be rediscovered, with particular attention to the Italian context related to this instrumental field. Next to figures whose inescapable contribution is by now well-accepted, other names, other entire existences dedicated to the guitar in the course of the centuries, other scores nearly unknown to us, remain to be re-evaluated, to be reintegrated into the present-day musicological and performance perspective.

In recent times, historiographic activity that lead to the publication of the book, Romolo Ferrari e la Chitarra in Italia nella Prima Metà del Novecento, made possible thanks to the precious effort of scholors that worked in constant coordination and with special regard for the reconnaissance on the sources, made evident how much work is still needed to reach a greater awareness and a critical knowledge of works and events. With this book, the intent was to begin this process of rediscovery that now, we hope, may be carried on in various directions, as the structure of this project has utilised the from the beginning.

The sections of the website will then be dedicated to different and complementary aspects of the premise illustrated here, offering space for newly acquired documents, updated articles regarding the contenst of the cited book and other research projects, projects focusing on particular aspects (the recovery of historic recordings, the making of a virtual archive of music and guitar magazines, biographies of concert performers and luthiers of the past, etc.).

A privileged moment of comparison will be given by the annual Guitar Convention, keeping with the tradition begun by Romolo Ferrari himself. That tradition had its beginning in Modena in 1933: from that year until his death there were 21 conventions held. From this, goals and intentions were formed in this tight collaboration on various aspects, enough to leave a tangible and long-lasting sign in the history of Italian guitar. In line with the meaning of these constructive experiences, this very project is presented, to which all those who intend to give a personal contribution - getting in touch with the scientific committe - are invited.

Simona Boni