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Ecce Musica


Ecce Musica is a timeless project, created in the middle of the pandemic, with which we continue our journey into resilience started with "Vogue White Paper" by Valentina Ciarallo and continued with the "Box" by Eleonora Cosi.

Today we meet MONICA MARZIOTA, singer, musician and performer
who tells us as a woman of music and theater
faced such a complicated year

Q. Monica, were you really unable to sing during the lockdown anymore?
R. Really, I swear! During the first lockdown I was literally left without a voice: I could not make a note, not even the daily vocalizations, my vocal cords were paralyzed. Those who sing know well that, in addition to study and technique, inner strength is needed, an awareness that becomes magic and turns into sound. Instead I had a cluster interior that imploded. I had to listen to it and try to locate one note at a time. I didn't sing from the balcony, I didn't do home concerts online. I spent a lot of time reading and writing.


Q. Thus the idea of ECCE MUSICA was born ...
R. Exact! I was writing my degree thesis in Musicology and I think this directed me towards research: I confronted myself with dear friends, colleagues, and with my prof. Antonio Rostagno, professor of music history and president of the musicology course at the Sapienza University of Rome, which has been and continues to be an important point of reference.

D. Tell us about the name: Ecce Musica and your manifesto: where music is an act of resistance.
R. Initially the name was supposed to be Music as Acto de Resistencia for a series of concerts and musical events designed to bring together different cultures and artistic disciplines which with this title - inspired in turn by opera Baile as acto de resistance by the artist Hyuro - I started proposing on the Roman scene in 2016 together with the Dorothy Circus Gallery, the United Federation of Italian Writers (FUIS) and other institutions. I wanted to recreate that purpose of meeting and dialogue between cultures and disciplines in the magazine.

But then I thought it would be too long a name: the magazine needed a shorter and more immediate name. I remember that one afternoon between late spring and early summer, walking from room to room inside the house, I said to myself: ex music! I was so excited! I immediately felt that it would have been the right name, even if on the one hand, it could have seemed pretentious to those who associated it with the phrase uttered by Pontius Pilate, on the other hand, it would have been sympathetic to those who remembered the film by Nanni Moretti . As we understand it, ex music recalls the meaning of that precise and essential language which for Guareschi is Latin. We want ours to be a ex music sincere, white, curious, exclamation and question mark, light, never superficial: here is the music, to read, listen, discover, touch and feel. We want to invite our readers to cultivate the Calvinian lightness, to fly like the grille that is the symbol of our initiative: the "lady" of the open spaces who, rising high in the sky and flapping her wings, sings the most musical song of birds.

Basically Ecce Musica he wants to get where the music goes. Our adage is Music as Act of Resistance because we want to resist banality and homologation to exist through sounds and silences in different genres and expressive forms. We strongly believe in the importance of increasing knowledge and developing a conscience that can make people understand the spirit, sacrifice and ethics that animate the various artistic works. Now more than ever.

Q. The voices of Ecce Musica are of young people, is it a counter-trend that contradicts the cliché of the relationship between the new generations and certain types of music?
R. We are mostly young, it is true. But not all of them. We neither see nor want to create generational barriers. I absolutely agree with the phrase "space for young people" but we think it is important to dialogue and enrich the experience of those who represent highly respected life paths, teaching and, in general, artistic and professional paths. We will have to listen, learn and nurture each other without fear.

Ecce Musica is a popular online magazine but we are very keen to publish scientific articles and essays without becoming tedious. We would like to reach every type of reader, not just those who know about musicology. The professor. Antonio Rostagno taught us to study and tell music through the history of mentalities, so then we can talk about different societies, cultures and languages. We want to spread classical or so-called cultured music but not only. There is no series a music and no series b music. We also want to talk about jazz, pop, world music, and we like to pay particular attention to the ethnomusicology of the countries of Asia, Africa and the Mediterranean.

D. Monica, tell us about your passion for pink as the protagonist of our 'La vie en rose' edition.
R. I love pink! I wear and experience the color pink whenever I can. Anyone who knows me knows. In the past, even my closest friends have teased me a bit and sometimes they still do it by claiming that pink is a child's color. I haven't been intimidated, I'm not the type. I like pink, it makes me feel good, it gives me confidence, it gives me a special and deep strength.

Several years ago my mom gave me a beautiful old pink dresser with a pink marble surface for my bedroom. Then I painted a small wardrobe pink myself and bought pillows of the same color. How I loved my “pink room”! It gave me beautiful feelings of calm. It focused me. I gladly spent hours in the room studying, playing, singing ... how many songs I wrote from there. I no longer live in that house, I don't live with my mother, but the dresser, the cabinet and the pillows are still there. I hope sooner or later to take them with me and to recreate a pink space. I care about it. I like the idea of seeing my life in pink: Je vois la vie en rose, the beloved Edith Piaf sang in 1945 in the song that has become the anthem of the new life of the French postwar period.

Piaf is the author of the text of the La vie en rose, while the music was written by the composer and pianist Louiguy who from the early 1940s had become the accompanist of theoiseaux de Paris. It is curious to think that there is a bit of Italy (distantly) in their collaboration because Louiguy, aka Louis Gugliemi, was born in Barcelona in Spain, grew up in France and is of Italian origin. Do you think that his father, an Italian, was the double bass player of the Arturo Toscanini Orchestra.

There chansonLa vie en rose " it became very popular in 1946 and was released as a single in 1947. In 1950 it became a hit in the United States and was sung and recorded by many internationally renowned artists.

Despite the musical triumphs, we know that Piaf had a very difficult life, some might say that it was anything but rosy. But "La Môme Piaf" in spite of its many vicissitudes sang to love and perhaps in this he sought his life in pink to the end. Because the color pink could mean just that: being vulnerable, fragile and strong at the same time. Being in the world. Live.

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