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In the twentieth century, much debate surrounded the performance of early music, often under the banner of supposed “philological” rigor and the use of historical instruments. By the mid-century, the urgency of these practices revealed the contradictions of still immature research and an often excessive pioneering spirit.

Over time, the persistent work of scholars and performers reshaped approaches to these repertoires, though real dialogue between historians and musicians remained rare, hindered by audience expectations rooted in questionable but influential traditions. At times, market dynamics and anti-historical solutions created striking short circuits, while even nineteenth-century repertoires—under the aegis of prestigious institutions—were subject to “historically informed” interpretations far from genuine historical awareness.

From these reflections arises the idea of the Cantieri: a space of dialogue and mutual inspiration, sustained by methodological rigor and scholarly reliability.