Ars Artem Salvat

The Festival, like all activities of the Fondazione Pro Musica e Arte Sacra, is aimed at sensitizing the public to its institutional aims: to safeguard, preserve, promote and develop the cultural patrimony present in Italy and to raise funds for restoration projects. Economically, the Fondazione reaches its objectives with generic contributions to its institutional activities. These are either specific contributions or the sponsoring of concerts organised by the Fondazione. Since its foundation in 2002 and with the help of its supporters and sponsors, the Fondazione Pro Musica has been able to support numerous important and often demanding restoration projects (for more details please see "Foundation")

Those who contribute to the year 2021 (and also attend the 20th International Festival of Sacred Music and Art), also support the restoration projects of the Fondazione Pro Musica e Arte Sacra. During the 2021-2024 period, the Fondazione Pro Musica e Arte Sacra will be supporting the following restoration and musical projects:

• the International Festival of Sacred Music and Art;
• the Bruckner Cycle with the Vienna Philharmonic Orchestra.

On June 3, 2018 the Fondazione Pro Musica e Arte Sacra inaugurated a great project dedicated to Anton Bruckner, since 2024 will be the two-hundredth anniversary of his birth in Ansfelden, on September 4, 1824. To celebrate this important and historical date until 2024 the Vienna Philharmonic Orchestra conducted by Christian Thielemann will execute the entire series of Bruckner’s symphonies, performing every year in one of the most important cathedrals of Europe. The inauguration concert was held on June 3rd, 2018 in St. Florian, Austria.

The second appointment of this cycle took place on 2 May 2019 in the Berlin Cathedral, where the Vienna Philharmonic directed by Christian Thielemann performed Symphony n. 2 in C minor by Anton Bruckner.
Initially this concert had the motto "for international peace and understanding". 
But seeing the devastating images of the fire of Notre-Dame, together with the Wiener Philharmoniker, we decided to change the motto of this evening's concert with the motto "Let’s remain united! Solidarity for Notre-Dame de Paris".
The third appointment of this cycle with the Symphony No. 3 in D minor (WAB 103) by Anton Bruckner, directed by Christian Thielemann is being defined. The Fondazione Pro Musica e Arte Sacra undertakes to promptly communicate the date of the concert.
On 18 September 2021 in the Sagrada Familia in Barcelona / Spain, there will be the execution of the Symphony No. 4 in E flat major also known as the “Romantic” by Anton Bruckner.

In 2022 in London, the performance of the Symphony No. 5 in B flat major.
The other dates are being defined. 


The painstaking restoration of the exterior of St Peter's, commenced by the Fabric of Saint Peter on the eve of the Holy Year of 2000 within the framework of a complex plan of protection and refurbishment, has been resumed and carried forward with renewed commitment and meticulous care over the last seven years with the support of the Fondazione Pro Musica e Arte Sacra. After the restoration of themain façade in 1999, plans were developed for the necessary work on the south, west and north sides, which are about 46 metres in height and present a total surface area of over 35,000 square metres. Restoration of the south façade was completed in three successive phases of painstaking work over just five years (April 2007 - May 2012). The third phase, regarding the central element of the basilica designed on a Greek cross plan in the 16th century by Michelangelo, was carried out with support from the Fondazione Pro Musica e Arte Sacra, which is also funding the restoration of the west façade including the external apse of St Peter's, commenced in 2012 and completed 2014. The by no means easy work is carried out by highly qualified restorers under the technical and scientific supervision of the Fabric of Saint Peter. Their patient, silent and untiring efforts are flanked by those of the "Sanpietrini" responsible for all the masonry work, including removal of the old tiled roofs of the attic cornice and entablature, and the subsequent installation of slabs of travertine to protect the structure as a whole. The necessary diagnostic investigations have also been carried out with photographs taken (before, during and after the restoration) and surveying with a laser scanner. This graphic and photographic documentation was completed with all the information regarding preservation of the materials and identification of the various kinds of deterioration present on the stone and attributable to chemical, physical and mechanical causes, thus serving as a basis for the analysis and mapping of decay and subsequent representation of the various operations of restoration. Jets of water were used to clean the travertine surface and the more stubborn black incrustations were removed by means of micro-sandblasting at moderate pressure with inert materials of reduced hardness in order to preserve the patina built up over time (the JOS system already tested and used in the restoration of the main façade). The restoration also constituted a unique and unrepeatable opportunity for knowledge, not least through the close examination of architectural details located in the higher parts of the basilica. It is therefore hardly surprising that the recent work undertaken by the Fabric of Saint Peter made it possible for the first time to identify and examine certain elements of Michelangelo's architecture with wonderful figural sculptures whose sophisticated elegance is not visible from below. While the restoration of the west side, corresponding to the rear of the basilica, is nearing completion, the Fabric of Saint Peter, once again with the support and collaboration of the Fondazione Pro Musica e Arte Sacra, has developed plans for the continuation of operations also on the 16th-century north side facing the area known as the Via delle Fondamenta. This restoration involved a surface area of approximately 6,800 square metres and took about two years (2014–16).

It is interesting to note that the latter highly demanding restoration project was launched in 2014, the year marking the 450th anniversary of the death of Michelangelo Buonarroti (6 March 1475 – 18 February 1564). It was in fact Michelangelo that designed and built this part of the basilica's exterior (apart from the minor stretch at the left end) between 1546 and 1564. It was during the pontificate of Julius III (1550–55), Paul IV (1555–59) and Pius IV (1559–65) that Michelangelo completed the apse and the oblique sides and began the construction of the attic and the foundations of the linear sides of the exterior, which were completed in 1590 by his successor, the architect Giacomo Della Porta (1533–1602).