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| "The 2°Pope Song" |
CD: Inedito
Label: Unedited
Credits: Mariotti & Consoli |
Story Behind the Song
The Pope Songs
(THE TRUE STORY)
> October '96
> Andrea Mariotti has the idea of recording a piece with the most
> authoritative voice in the world : THE POPE. He thus begins to follow the
> Holy Father each time he appears on television and to record on tape all
> his speeches.
> January '97
> At last, on 1st January '97 the Holy Father sings in the chapel a
> Gregorian chant of rare beauty, the PREFATIO of motherhood.
> In the days which immediately follow, he calls FABRIZIO CONSOLI, his
> friend and assistant, and together they produce and arrange a piece which
> is initially called 'WINDOW'.
> The result is so unexpected as to astonish VINCENT MESSINA, who had been
> invited in his capacity as editor of CONSOLI, and who has an exclusive
> contract with B.M.G., a company for which MESSINA works as editions
> manager.
> MESSINA, who is enthusiastic, suggests to act as intermediary in order to
> obtain authorization from those having entitlement to use the voice of the
> Holy Father and to publish the song. Messina thus obtains from the
> authors a mandate on trust and a copy on CD of the PREFATIO, thanks not
> only to the fact that he is the editor of one of the two persons involved,
> but also to his permanent activity in the city of ROME.
> February '97
> Within the first week of February Messina informs the authors that he has
> met Don Giulio NERONI, manager of the EDIZIONI PAOLINE, and that he has
> found him enthusiastic on the idea and its accomplishment.
> NERONI, in anticipation of a presentation in the VATICAN suggests to
> prepare a second version of the PREFATIO, substituting the rythmic part of
> the piece with percussions.
> As soon as the new version has been prepared, MARIOTTI and CONSOLI,
> deliver it to the Milan branch of B.M.G. who transmits it the same day to
> the Roman head office. The following day, MESSINA informs the authors
> that he has appreciated the work, and asks to wait for the return in Rome
> of Father PASQUALE BORGOMEO S.J., director of the VATICAN RADIO, the
> entity authorized to manage the rights to use the voice of the Holy
> Father, with whom Don NERONI and MESSINA himself have already arranged a
> meeting on the subject.
> On 25.2 the authors safeguard the idea and its execution by making a
> deposit with S.I.A.E.
> March '97
> MESSINA, NERONI meet with Father BORGOMEO in the Vatican Radio. The
> reaction of Borgomeo - as reported by MESSINA - is the following:
> Beautiful piece, beautiful the idea of the POPE who sings, but the choice
> of the prayer is not very suitable for popular distribution, given the
> fact that it can only be sung by a Priest and not by the faithfuls.
> (Subsequently, MESSINA himself will discover that the PREFATIO has already
> been published in a religious recording, where the voice of the POPE did
> not have a musical support to accompany the song, but was limited to being
> a recording of traditional prayers).
> For this reason research is made in the Vatican archives by the musical
> assistant of the director of Vatican Radio, STEFANO CORATO, aimed at
> finding a valid alternative to the PREFATIO.
> The choice falls on the PATER NOSTER in latin, the realisation of which is
> entrusted to the authors, through the delivery of two tapes - an
> audiocasette and a " tape, bearing the following title: SELECTION PATER
> NOSTER (AUD. PAUL VI HALL) YEAR '90 TAPE FROM THE PAPAL ARCHIVES UD 2070
> of 25.4.90 20:30H REPETITION IN ST. PETERS - both containing
> various interpretations of the PATER NOSTER.
> The tape is handed over to the authors by MESSINA through B.M.G. MARIOTTI
> and CONSOLI immediately begin to work in spite of having learnt that the
> father of one of them is seriously ill.
> Within a week of hard work they complete the task entrusted to them and
> deliver the piece to MESSINA, always through the means of B.M.G.
> (At the same time research by NERONI and CORATO continues on pieces
> adapted from the Vatican collection in order to create a homogeneous
> repertory so as not only to produce a single record but an entire album
> with an ecumenical outline which could justify the entire commercial
> operation).
> MESSINA organizes an appointment between the vaious parties, who meet each
> other for the first time in ROME, at the head office of B.M.G. BORGOMEO
> delegates his assistant CORATO to represent him. During this meeting,
> appreciation is given to the authors for the work carried out in the
> realisation of the PATER NOSTER, as well as of the PREFATIO, the
> reinstatement of which in the project, though improbable but not
> impossible, is still desired by everyone. Furthermore, other chapel
> voices of catholic or orthodox Priests are played and handed over to the
> authors (2 tapes [dat]) so that they can arrange them along the lines of
> the previous ones which had been recorded with the voice of the HOLY
> FATHER
> The authors deposit the arrangement of the PATER NOSTER with S.I.A.E. on
> 24.3.
> On 27 March MARIOTTI receives, from MESSINA, telephone confirmation that
> BORGOMEO has verbally approved the production of the PATER NOSTER.
> The almost certain granting of the imprimatur is the last information
> which MARIOTTI succeeds in transmitting to his father who will die in
> Florence the following day, on Easter eve.
> April '97
> Before proceeding with the execution of the other pieces, when the names
> of excellent contributors such as SAKAMOTO, MORRICONE, PETER GABRIEL,
> WITNEY HOUSTON, ETC begin to circulate, the authors, also on account of
> the enormous amount of time, money and creative effort spent on this
> activity, start wondering why a contractual proposal which would bind the
> Vatican to those who had brought forward the idea and the most sober way
> to realize it, has not yet been made. At the same time they begin to
> wonder why MESSINA, who should have been their spokesperson, now presents
> hemself as the artistic manager of the entire project, and why he is
> devoting the greatest part of his efforts to keeping the authors as far
> away as possible from meetings with NERONI and the VATICAN. To this
> should be added the actual unavailability of Father BORGOMEO, continually
> taken up by travels at the side of the POPE.
> May, June, July, August
> During this time the following happens:
> two new pieces are prepared, the VICTIMAE PASCHALIS and the IPEN or
> KIRIOS. The definition of a contract between B.M.G. AND THE AUTHORS is
> discussed, BOUND HOWEVER TO THE FINAL GRANTING OF THE IMPRIMATUR ON THE
> PART OF THE VATICAN. For this reason the lawyers of the two parties meet
> on several occasions, Dott. ROSITANI for the authors and Dott. ATTOLICO
> for B.M.G.
> MARIOTTI finally succeeds in convincing MESSINA to let him participate in
> his meetings with BORGOMEO, who initially considered pointless the
> participation of a third partner such as AUDIOVISIVI S. PAOLO, represented
> by Don Giulio NERONI.
> During this meeting MESSINA explains to BORGOMEO that, following a
> worldwide test carried out by B.M.G., the piece PREFATIO is widely
> preferred to the PATER NOSTER, at which BORGOMEO leads those present to
> understand that he is available to reintegrate the PREFATIO in the
> project, on condition that the production group, which has in the meantime
> been set up, works on the idea of a spiritual journey which would justify
> the choice of the prayer PREFATIO not as a casual choice, but as an
> obligatory one.
> MESSINA and MARIOTTI, who are enthusiastic, inform the manager of B.M.G.
> editions, Dott. MARIO CANTINI (on holiday) on the reintegration of the
> piece from which the whole issue hasoriginated.
> Now the finalizing of the contractual agreement between the authors and
> B.M.G., and between B.M.G. and Vatican Radio, seems to be a done deal.
> In the meantime a few minor pieces are arranged - on condition that the
> pieces sung by the HOLY FATHER were on exclusive licence from MARIOTTI and
> CONSOLI - by other musicians, who work in Rome, and who are summoned in
> the studios of B.M.G. to prepare a [mintage] of a Zero issue with the
> provisional title of ABBA PATER.
> On this occasion the new pieces by MARIOTTI are verbally approved, while
> the works by other musicians (chosen by MESSINA) are criticised by CORATO
> (Vatican Radio). During the meeting, CORATO hands over to MARIOTTI the
> ORIGINAL recording (SUPPORT DAT) of the chapel voice of the PREFATIO
On 30 September '97 MESSINA sends ROSITANI a fax with the
> list of the pieces which should have been part of the recording.
> NOTE THE PRESENCE OF THE PREFATIO
> September, October, November '97
> In the definition of the contract between the authors and B.M.G., only the
> signatures of the parties is missing, and the proposal of agreement on the
> production and distribution of the recording is already on the table of
> the director of Vatican Radio.
> From day to day the parties expect the signature which will formalize the
> agreement between the partners.
> In the meantime, the authors ask MESSINA for a financial contribution on
> the part of B.M.G. which would allow them to rent the musical equipment so
> as to be self sufficient in the execution of the album.
> MESSINA gives his verbal approval to the renting.
> At this point something unforeseen happens.
> MESSINA, NERONI and MARIOTTI, who is accompanied by his wife, meet.
> MESSINA with an attitude which is apparently unaccountable, informs
> MARIOTTI of the bad relationship which has intervened between him and his
> manager Dott. CANTINI, and of his will to taking the project to other
> distributors, leaving AUDIOVISIVI S. PAOLOto be the producers and
> licencees of the record and advising him at this point against signing the
> contract with B.M.G.
> From a subsequent meeting with BORGOMEO, MARIOTTI realizes just how much
> MESSINA has succeeded in placing B.M.G. in bad light, and in particular
> Dott. CANTINI, who had initially delegated the management of the entire
> operation to MESSINA himself, and had never participated in any of the
> meetings between the parties.
> By then, CONSOLI had already signed a contract with B.M.G., and, for a
> matter of correctness, MARIOTTI, on the suggestion of his lawyer ROSITANI
> also signs the contract which binds him to the same for the execution of
> the record by the Pope. Rapidly the following facts follow:
> the week during which BORGOMEO should have finally signed the agreement,
> MESSINA resigns from his position at B.M.G.
> Mariotti is informed of the fact by MESSINA himself. MARIOTTI accuses
> MESSINA of having acted, betraying BMG and the authors, who had entrusted
> their confidence in him. MESSINA interrupts the conversation, by hanging
> up the phone.
> Dott. CANTINI, in spite of all his efforts to contact Father BORGOMEO,
> will always find an obstruction to the dialogue and the resumption of
> negotiations.
> BORGOMEO, will confide to MARIOTTI that he can no longer trust a partner
> (B.M.G.) who in the most delicate moment of the deal substitutes the sole
> counterparty which he had had up to that point.
> The authors realize that they no longer have any type of protection, both
> with regards to the idea and with regards to the work done, and think that
> the only solution is that of informing public opinion through the press.
> For some time, in fact, a journalist from the corriere, FRANCESCO
> BATTISTINI, had been granted an exclusive interview which he could have
> published only with the consent of the authors.
> Concerned by the possibility of a leak of news, MESSINA, NERONI and CORATO
> invite the authors to what up to date remains the last meeting between the
> parties, in November '97, in Florence in the offices of Avv. ROSITANI. On
> that occasion MESSINA, asks to still be patient, except that the meeting
> degenerates when NERONI declares to have had a long time before MARIOTTI
> the idea of having the HOLY FATHER sing, which provokes a reaction which
> consolidates the suspicion in the authors that the entire project had for
> a long time been vitiated by personal opportunism.
> December '97
> There is a long period of stagnation, due to another pause for reflection
> on the part of BORGOMEO. When, contacted over the telephone by MARIOTTI
> who tries to make him understand the objective difficulties (also
> economic) which he had faced during the whole of '97, Borgomeo appears to
> regret the succession of events, but is not as yet available to deal with
> anyone who is not MESSINA. BORGOMEO explains to MARIOTTI that the idea of
> having the Pope sing is not rare, leading him to understand that it is an
> idea not legally safeguarded and that anyone, with an appropriate
> authorisation can realize it commercially. Not only. To grant the
> approval for the use of the HOLY FATHER's voice, even by the EDIZIONI
> PAOLINE, BORGOMEO, requests the submission of a completed project.
> Now the authors find themselves in a vicious circle:
> a contract until February '98 with B.M.G. which is excluded from
> negotiations thanks to the exit of MESSINA, the total lack of funds to
> complete the project which can be refused [a priori] and the exclusion
> from the management of the same on account of the will on the part of
> AUDIOVISIVI S. PAOLO and of MESSINA, to appropriate themselves of the
> entire operation.
> In order to safeguard at least the origin of the work, the authors agree
> to publish the interview granted to BATTISTINI.
> The article is published on the first page of the Corriere della Sera of
> 18.12.98.
> In spite of the fact that the article is neither controversial nor
> contentious, it marks the final interruption of contacts between the
> authors and the group which refers to Vatican Radio.
> Year 1998
> When the virtual contract between B.M.G. expires, MARIOTTI relents the
> editions of his repertoire to company 909 Ed. of J.T. VANNELLI, to whom he
> also plays the piece by the Pope. Vannelli is excited by the
> communicative potential that the voice of the HOLY FATHER expresses, and,
> on learning that the working team led by MESSINA is progressing with the
> project which, although having been originated by MARIOTTI and CONSOLI,
> saw them as the only ones excluded from it, decides to publish the
> recording all the same, hoping to reach an agreement with Vatican Radio,
> which would at least recognise the authors the satisfaction of having had
> the original idea.
> They decide to give the recording an explanatory name with respect to its
> contents and especially its history: FORGIVE US,
> On 17.5.98, RAI 2 transmits an interview to the authors during its news
> bulletin of 13:00 hrs which anticipates the release of the recording.
> On the 20 a circular arrives which warns radio and televisions not to
> transmit the piece. RTL and R. MONTECARLO interview MARIOTTI and ask for
> a preview which is not granted. The record is distributed, one thousand
> copies on CD and the same number on Vinyl as a first reduced edition,
> followed by numberless articles in Italy and Europe.
> The goal is always that of reaching an agreement with those having
> entitlement.
> RTL passes FORGIVE US in HEAVY ROTATION for more than a month. In Poland,
> on radio ZED, a debate arises on the censure rights of a vatican
> institution.
> In July fashion designer K. ETRO choses the piece FORGIVE US as soundtrack
> for his show at Trinità dei Monti in Rome, transmitted in EUROVISION by
> Canale 5.
> One day before he announces it to the press, causing comments at
> international level. The authors are also interviewed by the DAILY MAIL
> and by the NEW YORK TIMES.
> At this point ETRO is officially warned by the VATICAN, and stops using
> the piece, excusing himself with the Pontiff but having in all cases
> benefited from the extraordinary attention of the media.
> The same fate falls on the recording. After a few days its seizure is
> requested (Art. ex 700) but the hearing is postponed 'inaudita altera
> parte'.
> Subsequently, judge Dott. GANDOLFI decides to request the seizure and the
> destruction of the unsold copies, and to prohibit the further publication
> of the recording.
> YEAR 1999
> Through the media the imminent publication of the album ABBA PATER is
> announced produced by AUDIOVISIVI S. PAOLO with the cooperation of
> MESSINA, regularly authorized by Vatican Radio and published by SONY
> MUSIC.
> The recording contains the PATER NOSTER sung by the POPE.
> MUSIC by LEONARDO DE AMICIS.
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