Wikipedia

Il Canto degli Italiani

"Fratelli d'Italia" redirects here. For the political party, seeBrothers of Italy.For other uses, seeFratelli d'Italia (disambiguation).

"Il Canto degli Italiani"(Italian:[ilˈkantodeʎʎ(i)itaˈljaːni];[1]transl.  "The Song of the Italians") is a patriotic song written byGoffredo Mameliand set to music byMichele Novaroin 1847,[2]currently used as thenational anthemof Italy. It is best known among Italians as the "Inno di Mameli"(Italian:[ˈinnodimaˈmɛːli];transl.  "Mameli's Hymn"), after the author of the lyrics, or "Fratelli d'Italia"(Italian:[fraˈtɛllidiˈtaːlja];transl.  "Brothers of Italy"), from itsopening line.The piece, in4/4time signature andB-flat majorkey, has sixstrophes,and arefrainsung after each. The sixth group of verses, almost never performed, recalls the first strophe's text.

Il Canto degli Italiani
English: The Song of the Italians
Holographiccopy of 1847 of "Il Canto degli Italiani"
National anthem of Italy
Also known asInno di Mameli(English: Mameli's Hymn)
Fratelli d'Italia(English:Brothers of Italy)
LyricsGoffredo Mameli,1847
MusicMichele Novaro,1847
Adopted12 October 1946 (de facto)
1950 (byTrust Territory of Somaliland)
4 December 2017 (de jure)
Relinquished1960 (by Trust Territory of Somaliland)
Preceded by"Marcia Reale"(1861–1946)
Audio sample
Italian Navy Bandinstrumental version (one verse and chorus)

The song was very popular duringItalian unificationand the following decades. However, after theKingdom of Italy's 1861 proclamation,therepublicanandJacobinconnotations of "Fratelli d'Italia" were difficult to reconcile with the new state's monarchic constitution. The kingdom chose instead "Marcia Reale"(Royal March), theHouse of Savoy's official anthem, composed by order of KingCharles Albert of Sardiniain 1831.

After theSecond World War,Italybecame a republic.On 12 October 1946, it chose "Il Canto degli Italiani" as a provisional national anthem. The song would retain this role asde factoanthem of the Italian Republic, and after several unsuccessful attempts, gainedde jurestatus on 4 December 2017.

History

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Origins

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Goffredo Mameli(1827–1849), lyricist
Michele Novaro(1818–1885), musical composer
Holographicdraft of 1847 by Goffredo Mameli of the first strophe and the refrain of "Il Canto degli Italiani"

The text of "Il Canto degli Italiani" was written by theGenoeseGoffredo Mameli,then a young student and a fervent patriot, inspired by themass mobilizationsthat would lead to therevolutions of 1848and theFirst Italian War of Independence(1848–1849).[3]Sources differ on the precise date of the text's drafting: according to some scholars, Mameli wrote the hymn 10 September 1847,[4]while others date the composition's birth to two days before, 8 September.[5]After discarding all extant music,[6]on 10 November 1847[7]Goffredo Mameli sent the text toTurinand theGenoesecomposerMichele Novaro,who lived at the time with the activistLorenzo Valerio.[4][6][8]

The poem captured Novaro[9]and he decided to set it to music on 24 November 1847.[4]Thirty years later, the patriot and poetAnton Giulio Barrilirecalled Novaro's description of the event thus:[3]

Mi posi al cembalo, coi versi di Goffredo sul leggio, e strimpellavo, assassinavo colle dita convulse quel povero strumento, sempre cogli occhi all'inno, mettendo giù frasi melodiche, l'un sull'altra, ma lungi le mille miglia dall'idea che potessero adattarsi a quelle parole. Mi alzai scontento di me; mi trattenni ancora un po' in casa Valerio, ma sempre con quei versi davanti agli occhi della mente. Vidi che non-c'era rimedio, presi congedo e corsi a casa. Là, senza neppure levarmi il cappello, mi buttai al pianoforte.

Mi tornò alla memoria il motivo strimpellato in casa Valerio: lo scrissi su d'un foglio di carta, il primo che mi venne alle mani: nella mia agitazione rovesciai la lucerna sul cembalo e, per conseguenza, anche sul povero foglio; fu questo l'originale dell'inno Fratelli d'Italia.

I placed myself at theharpsichord,with Goffredo's verses on the lectern, and strummed away, murdering the poor instrument with my shaking hands. I kept my eyes on the hymn as I set down melodic phrases, one after the other, but felt a thousand miles distant from the idea I could adapt the words. I stood up disgruntled with myself; I stayed a little longer in the Valerio house, but always those verses hung in my mind's eye. I saw that there was no remedy, took leave, and ran home. There, without even taking off my hat, I threw myself at the piano.

The motif strummed in the Valerio house came back to me: I wrote it on a sheet of paper, the first that came to my hands: in my agitation I upset the lamp on the harpsichord and, consequently, also on the poor sheet; this was the origin of the Fratelli d'Italia

Cover of a 1915 album of patriotic music: thepersonification of Italy,wearingScipio'shelmet and waving theItalian flag,leads theBersaglieri

Mameli heldRepublicanandJacobinsympathies[10][11]and supported theFrench Revolutioncredoliberté, égalité, fraternité.[12]The text of "Il Canto degli Italiani" drew inspiration from the French national anthem, "La Marseillaise".[13]For example, "Stringiamci a coorte"recalls the" La Marseillaise "verse,"Formez vos bataillons"(" Form your battalions ").[11]

In the original version of the hymn, the first line of the first verse read "Hurray Italy", but Mameli changed it to "Fratelli d'Italia" almost certainly at Novaro's suggestion.[14]The latter, when he received the manuscript, also added a rebellious "Si!" ( "Yes!" ) at the end of the final refrain.[15][16]

Another verse in the first draft was dedicated to Italian women,[17]but eliminated by Mameli before the official debut. It read:[17][18]"Tessete o fanciulle / bandiere e coccarde / fan l'alme gagliarde / l'invito d'amor. ([tesˈseːteofanˈtʃulle],[banˈdjɛːr(e)ekkokˈkarde],[fanˈlalmeɡaʎˈʎarde],[liɱˈviːtodaˈmor].English: Weave maidens /flagsandcockades[N 1]/ they make souls gallant / the invitation of love.) "

Debut

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The first printed copy of the hymn, by the Delle Piane printers of Genoa, on looseleaf, was distributed on 10 December 1847 to demonstrators in Oregina. Mameli then added in pen the fifth strophe of the hymn, censored by the Savoy government as too anti-Austrian.
TheSantuario della Nostra Signora di Loreto,before which the "Il Canto degli Italiani" made its public debut

On 10 December 1847,[17]a demonstration before theSantuario della Nostra Signora di Loreto[it]inOregina[it],Genoa, was officially dedicated to the 101st anniversary of the Portoria quarter's popular rebellion during theWar of the Austrian Succession,which had expulsed theAustriansfrom the city. In fact, it was an excuse to protest against foreign occupations in Italy and induceCharles Albert of Sardiniato embrace the Italian cause of liberty and of unity.

On this occasion, theflag of Italywas shown and Filarmonica Sestrese, the municipal band ofSestri Ponente,played Mameli's anthem for 30,000 patriots who had come to Genoa from all over Italy for the event.[6]This event is generally believed to be the song's first public performance, but there may have been a previous public rendition on 9 November 1847 in Genoa, of which the original documentation was lost.[19]

That performance would have been by the FilarmonicaVoltrese[19]founded by Goffredo's brotherNicola Mameli[it],[20]and used a first draft of "Il Canto degli Italiani" that differs from the final version (see above).[19]As its author was infamouslyMazzinian,the piece was forbidden by thePiedmontese policeuntil March 1848: its execution was also forbidden by the Austrian police, which also pursued its singing interpretation — considered apolitical crime— until their empire'sdissolution.[21]On 18 December 1847, the Pisan newspaperL'Italiawrote how the song evoked public spirits:[22]

... For many evenings numerous youths have come together in theAccademia filodrammaticito sing a hymn of Mameli, set to music by the maestro Novaro. Poetry... is full of fire, music fully corresponds to it...

— NewspaperL'Italia,18 December 1847

Two of Mameli'sautographedmanuscripts have survived to the 21st century: the first draft, with Mameli's hand annotations, at theMazzinian Institute of Genoa[it],[23]and the letter, from Mameli on 10 November 1847 to Novaro, at theMuseo del Risorgimento in Turin.[7]

Novaro's autographed manuscript to the publisherFrancesco Lucca[it]is located in the Ricordi Historical Archive.[24]The later Istituto Mazziniano sheet lacks the final strophe ( "Son giunchi che piegano..." ) for fear of censorship. These leaflets were to be distributed at the 10 December demonstration inGenoa.[25]The hymn was also printed on leaflets in Genoa, by the printerCasamara.

The following decades

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Edition of 1860, printed by Tito I Ricordi

"Il Canto degli Italiani" debuted with only a few months left to therevolutions of 1848.Shortly before the promulgation of theStatuto Albertino,the constitution thatCharles Albert of Sardiniaconceded to theKingdom of Sardinia in Italyon 4 March 1848, political gatherings of more than ten people had become legal,[6]and catchy songs like "Il Canto degli Italiani" could spread byword of mouth.[6]Patriots from the 10 December demonstration spread the hymn all over theItalian peninsula.[6]The hymn was very popular among theItalian peopleand the ranks of the Republican volunteers.[26]It was commonly sung in most parts of Italy during demonstrations, protests and revolts as a symbol of theItalian unification.[27]

The Savoyard authorities censored the fifth strophe[3]to preservediplomatic relationswith theAustrians;but after the declaration of war against theAustrian Empireand the beginning of theFirst Italian War of Independence(1848–1849),[28]the soldiers and the Savoy military bands performed it so frequently that King Charles Albert was forced to withdraw all censorship.[29]The rebels sang "Il Canto degli Italiani" during theFive Days of Milan[30]and at Charles Albert of Piedmont-Sardinia's promulgation of theStatuto Albertino(also in 1848).[31]Volunteers for the briefRoman Republic(1849) sang it,[32][33]andGiuseppe Garibaldihummed and whistled it during the defense ofRomeand the flight toVenice.[4]

From the unification of Italy to the First World War

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Propaganda poster from the 1910s with the "Il Canto degli Italiani" score

In the 1860, the corps of volunteers led by Giuseppe Garibaldi used to sing the hymn in the battles against theBourbonsin Sicily andSouthern Italyduring theExpedition of the Thousand.[34]Giuseppe Verdi,in hisInno delle nazioni( "Hymn of the nations" ), composed for theLondon International Exhibition of 1862,chose "Il Canto degli Italiani" to represent Italy, putting it beside "God Save the Queen"and"La Marseillaise".

After theproclamation of the Kingdom of Italy(1861), the "Marcia Reale"(" Royal March "),[35]composed in 1831, was chosen as thenational anthemofunified Italy."Il Canto degli Italiani" had tooradicalcontent, with its strongrepublicanandJacobinconnotations,[10][11]and did not combine well with themonarchicalconclusion to theunification of Italy.[28]Mameli's republican — in factMazzinian— creed, was, however, more historical than political,[11]andsocialistand anarchist circles also disliked "Il Canto degli Italiani" as too conservative.[36]

Front page of theCorriere della Seraof 21 May 1915: parliamentary deputies acclaimed the government's assumption of war powers with the Mameli-Novaro anthem.

The song was one of the most common songs during theThird Italian War of Independence(1866).[28]At theCapture of Romeon 20 September 1870, the last step in Italian unification, choirs sang it together with "La bella Gigogin"and the" Marcia Reale ";[35][37]and "Il Canto degli Italiani" receivedbersaglierifanfare.[38]

After the end of the Italian unification, "Il Canto degli Italiani" was taught in schools, and remained very popular among Italians.[39]However, other musical pieces connected to the political and social situation of the time, such as the "Inno dei lavoratori[it]"(" Hymn of the Workers ") or"Goodbye to Lugano",[40]addressed everyday problems. These partly obscured the popularity of reunification hymns.[41]

"Fratelli d'Italia", thanks to references to patriotism and armed struggle,[41]returned to success during theItalo-Turkish War(1911–1912), where it joined "A Tripoli";[42]and in the trenches of theFirst World War(1915–1918).[41]That time'sItalian irredentismfound a symbol in "Il Canto degli Italiani", although in the years following he[who?]would have been preferred, in the patriotic ambit, musical pieces of greater military style such as "La Leggenda del Piave",the"Canzone del Grappa[it]"or"La campana di San Giusto[it]".[36]Shortly after Italy entered the First World War, on 25 July 1915,Arturo Toscaniniperformed "Il Canto degli Italiani" at aninterventionistdemonstration.[43][44]

During fascism

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"Il Canto degli Italiani" remembered together with theunification of Italyon a propaganda poster ofBenito Mussolini'sItalian Social Republic

Fascistchants, such as "Giovinezza"(or" Inno Trionfale del Partito Nazionale Fascista ") took on great importance, after the 1922March on Rome.[45]Although not official anthems, they were widely disseminated, publicized, and taught in schools.[46]Non-fascist melodies, including "Il Canto degli Italiani," were discouraged.[41]

In 1932, theNational Fascist PartysecretaryAchille Staracedecided to prohibit musical pieces that did not sing toBenito Mussoliniand, more generally, did not link to fascism.[47]"Subversive" songs, i.e. those of anarchist or socialist type, such as the anthem of the workers or "The Internationale",and non-sympathetic foreign nations' official anthems, such as"La Marseillaise",were banned.[48]Sympathetic regimes' anthems, such as theNazihymn "Horst-Wessel-Lied"and theFrancoistsong "Cara al Sol",were contrariwise encouraged.[48]After the 1929Lateran Treatywith theHoly See,anti-clericalpassages were also banned.[48]

In the spirit of this directive, some songs were resized, such as "La Leggenda del Piave",sung almost exclusively during theNational Unity and Armed Forces Dayevery 4 November.[49]The chants used during theItalian unificationwere however tolerated:[36][48]"Il Canto degli Italiani", which was forbidden in official ceremonies, received a certain condescension on particular occasions.[48]

During theSecond World War,regime musicians released fascist pieces via radio, but very few songs spontaneously arose among the population.[50]Songs like "A primavera viene il bello","Battaglioni M","Vincere!"and"Camerata Richard"were common. The most famous spontaneous song was"Sul ponte di Perati[it]".[51]

After the8 September 1943 armistice,the Italian government provisionally adopted as a national anthem "La Leggenda del Piave", replacing the "Marcia Reale".[36][52][53]Cooperation with the fascist dictatorship was now egg on the monarchy's face;[36]a song that recalled theItalian victoryinWorld War Icould infuse courage and hope to theRoyal Italian Armytroops who now fought against Mussolini'sSocial RepublicandNazi Germany.[54]

"Fratelli d'Italia" resounded inAllies-freedSouthern Italyand partisan-controlled areas to the north.[55]"Il Canto degli Italiani", in particular, had a good success inanti-fascistcircles,[49]where it joined partisan songs "Fischia il vento"and"Bella ciao".[36][55]Some scholars believe that the success of the piece in anti-fascist circles then was decisive for its choice as provisional anthem of the Italian Republic.[43]

Often, "Il Canto degli Italiani" is wrongly referred to as thenational anthemof theFascist era.However, Mussolini's Republic had no official anthem, playing "Il Canto degli Italiani" and "Giovinezza"[56]equally often at the ceremonies. "Il Canto degli Italiani" retained value to the fascists only for propaganda.[57]

So Mameli's hymn was, curiously, sung by bothpartisansand fascists.[56]

From provisional to official anthem

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Cipriano Facchinetti

In 1945, at the end of the war,Arturo Toscaninidirected a performance ofGiuseppe Verdi's 1862Inno delle nazioniin London, including "Il Canto degli Italiani".[3][58]However, even after thebirth of the Italian Republic,"La Leggenda del Piave"remained the temporary national anthem.[59]

For the new anthem, a debate arose. Possible options included "Va, pensiero"from Verdi'sNabucco;a completely new piece; "Il Canto degli Italiani"; the "Inno di Garibaldi"; and confirmation of "La Leggenda del Piave".[59][60]The government then approvedRepublicanWar MinisterCipriano Facchinetti's proposal to adopt "Il Canto degli Italiani" as provisional anthem.[60]

"La Leggenda del Piave" thus served as national anthem until theCouncil of Ministersmeeting on 12 October 1946, when Facchinetti officially announced the provisional anthem for the 4 NovemberNational Unity and Armed Forces Daycelebrations.[61][62]The press release stated:[63]

... On the proposal of the Minister of War it was established that the oath of the Armed Forces to the Republic and to its Chief would be carried out on November 4th p.v. and that, temporarily, the anthem of Mameli is adopted as the national anthem...

— Cipriano Facchinetti

Facchinetti also declared that a draft decree would be proposed to confirm "Il Canto degli Italiani" as the provisional national anthem of the newly formed Republic, but did not follow up on this promise.[62][64]Instead, he proposed to formalize "Il Canto degli Italiani" in theConstitution of Italy,then being drafted.[60]

The Constitution, finished in 1948, determined thenational flag,but did not establish a national anthem or emblem;the latterwas adopted by legislative decree on 5 May.[65]A draft constitutional law prepared immediately afterwards sought to insert, after discussion of the national flag, the sentence "The Anthem of the Republic is the 'Il Canto degli Italiani'". This law, too, stalled.[66]

"Il Canto degli Italiani" nonetheless had great success amongItalian emigrants:[67]"Fratelli d'Italia"scoresare sold inLittle Italiesacross theAnglosphere,and "Il Canto degli Italiani" is often played on more or less official occasions inNorthand South America.[67]In particular, it was the "soundtrack" of post-WWII fundraisers in the Americas for the Italian population left devastated by the conflict.[68]

President of the RepublicCarlo Azeglio Ciampi,began, from 1999 to 2006, to revive "Il Canto degli Italiani" as anational symbol of Italy.[69][70]Ciampi declared that:[70]

... It is a hymn that, when you listen to it, makes you vibrate inside; it is a song of freedom of a people that, united, rises again after centuries of divisions, of humiliations...

— Carlo Azeglio Ciampi

In August 2016, a bill was submitted to the Constitutional Affairs Committee of theChamber of Deputiesto make "Il Canto degli Italiani" Italy's national anthem,[71]and passed out of committee in July 2017.[72]On 15 December 2017, onGazzetta Ufficialelaw nº 181 of 4 December 2017, was published after passing both houses of Parliament, and the law came into force on 30 December 2017.[73]

Lyrics

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TheAlps
Sicily
Version sung byMario Del Monacoin 1961
Full sung version
U.S. Navy Bandinstrumental version (one verse and chorus)

This is the complete Italian anthem text, as commonly performed on official occasions. Goffredo Mameli's original poem includes neither repetitions nor the loud "Sì!"(" Yes! ") at the end of the chorus.

The first strophe presents a personification of Italy who is ready to war to become free, and shall be victorious asRomewas in ancient times, "wearing" the helmet ofScipio Africanuswho defeatedHannibalat thefinal battleof theSecond Punic War.It also alludes to the ancientRomancustom that slaves cut their hair short as a sign of servitude: hence theGoddess of Victorymust cut her hair and enslave herself toRome(to make Italy victorious).[74]

In the second strophe the author complains that Italy has been a divided nation for a long time, and calls for unity. In this stropheMameliuses three poetic and archaic words:calpesti(modern Italian:calpestati),speme(modernsperanza),raccolgaci(modernci raccolga).

The third strophe is an invocation to God to protect the loving union of the Italians struggling to unify their nation once and for all. The fourth strophe recalls popular heroic figures and moments of the Italian fight for independence: thebattle of Legnano,the defence ofFlorenceled byFerruccioduring theItalian Wars,the riot started inGenoabyBalilla,and theSicilian Vespers.The fifth strophe unequivocally marks Habsburg Austria as the Italian cause's primary enemy. It also links thePolish quest for independenceto the Italian one.[3]

The sixth and final verse, almost never performed,[75]is missing in Mameli's original draft but appears in his second manuscript. However, it was omitted in the first printed editions of the text on the leaflet.[76]The verse joyfully announces the unity of Italy and goes on to close the song with the same six lines that conclude the initial verse, thus giving the poem a circular structure.

Italian lyrics[76] IPAtranscription as sung[a] English translation

I
Fratelli d'Italia,
l'Italia s'è desta,
dell'elmo di Scipio
s'è cinta la testa.
Dov'è la Vittoria?
Le porga la chioma,
ché schiava di Roma
Iddio la creò.

(repeat first stanza)

Coro:
𝄆 Stringiamci a coorte,
siam pronti alla morte.
Siam pronti alla morte,
l'Italia chiamò. 𝄇
Sì!

II
Noi fummo da secoli[N 2]
calpesti, derisi,
perché non-siam popolo,
perché siam divisi.
Raccolgaci un'unica
bandiera, una speme:
di fonderci insieme
già l'ora suonò.

(repeat first stanza)

Coro

III
Uniamoci, amiamoci,[N 3]
l'unione e l'amore
rivelano ai popoli
le vie del Signore.
Giuriamo far libero
il suolo natio:
uniti, per Dio,
chi vincer ci può?

(repeat first stanza)

Coro

IV
Dall'Alpi a Sicilia
dovunque è Legnano,
ogn'uom di Ferruccio
ha il core, ha la mano,[N 4]
i bimbi d'Italia
si chiaman Balilla,
il suon d'ogni squilla
i Vespri suonò.

(repeat first stanza)

Coro

V
Son giunchi che piegano
le spade vendute:
già l'Aquila d'Austria
le penne ha perdute.
Il sangue d'Italia,
il sangue Polacco,
bevé, col cosacco,
ma il cor le bruciò.[N 5]

(repeat first stanza)

Coro

VI
Evviva l'Italia,
dal sonno s'è desta,
dell'elmo di Scipio
s'è cinta la testa.
Dov'è la vittoria?!
Le porga la chioma,
ché schiava di Roma
Iddio la creò.

(repeat first stanza)

Coro

1
[fraˈtɛl.li diˈtaːlja |]
[liˈtaːlja ˌsɛ‿dˈde.sta |]
[delˈlel.mo di‿ʃˈʃiːpjo]
[ˌsɛ‿tˈt͡ʃin.ta la ˈtɛ.sta ǁ]
[doˈvɛ‿l.la vitˈtɔːrja |]
[le ˈpɔr.ɡa la ˈkjɔːma |]
[ke ˈskjaːva di ˈroːma]
[idˈdiːo la kreˈɔ ǁ]

(repeat first stanza)


𝄆 [strinˈd͡ʒan.t͡ʃ‿a‿k.koˈor.te |]
[ˌsjam‿ˈpron.ti̯‿al.la ˈmɔr.te ǁ]
[ˌsjam‿ˈpron.ti̯‿al.la ˈmɔr.te |]
[liˈtaːlja kjaˈmɔ ǁ] 𝄇
[ˈsi]

2
[ˌnoi̯‿ˈfum.mo da(‿s.)ˈsɛːko.li]
[kalˈpe.sti | deˈriːzi |]
[perˈke‿n.non ˌsjam‿ˈpɔːpo.lo |]
[perˈke‿sˌsjan‿diˈviːzi ǁ]
[rakˈkɔl.ɡa.t͡ʃ‿uˈnuːni.ka]
[banˈdjɛ.ra(‿)u.na ˈspɛːme |]
[di ˈfon.der.t͡ʃ(i)‿inˈsjɛːme]
[ˌd͡ʒa‿lˈloːra swoˈnɔ ǁ]

(repeat first stanza)



3
[uˈnjaːmo.t͡ʃi | aˈmjaːmo.t͡ʃi |]
[luˈnjoːn‿e‿l.laˈmoːre]
[riˈveːla.no ai̯ ˈpɔːpo.li]
[le ˈviːe del siɲˈɲoːre ǁ]
[d͡ʒuˈrjaːmo ˌfar‿ˈliːbe.ro]
[il ˈswɔːlo naˈtiːo |]
[uˈniːti | per ˈdiːo |]
[ki‿vˈvin.t͡ʃer t͡ʃi ˈpwɔ ǁ]

(repeat first stanza)



4
[dalˈlal.pi̯‿a‿s.siˈt͡ʃiːlja]
[doˈvuŋ.kw(e)‿ˌɛ‿l.leɲˈɲaːno |]
[oɲˈɲwɔn‿di ferˈrut.t͡ʃo]
[ˌa‿i̯l ˈkɔːre | ˌa‿l.la ˈmaːno |]
[i ˈbim.bi diˈtaːlja]
[si ˈkjaːmam baˈlil.la |]
[il ˈswɔn ˌdoɲ.ɲi‿ˈskwil.la]
[i ˈvɛ.spri swoˈnɔ ǁ]

(repeat first stanza)



5
[ˌson‿ˈd͡ʒuŋ.ki ke‿pˈpjɛːɡa.no]
[le ˈspaːde venˈduːte |]
[ˌd͡ʒa‿lˈlaːkwi.la ˈdau̯.strja]
[le ˈpen.ne ˌa‿p.perˈduːte ǁ]
[il ˈsaŋ.ɡwe diˈtaːlja |]
[il ˈsaŋ.ɡwe poˈlak.ko |]
[beˈve | kol koˈzak.ko |]
[ma‿i̯l ˈkɔr le bruˈt͡ʃɔ ǁ]

(repeat first stanza)



6
[evˈviːva liˈtaːlja |]
[dal ˈsɔn.no ˌsɛ‿dˈde.sta |]
[delˈlel.mo di‿ʃˈʃiːpjo]
[ˌsɛ‿tˈt͡ʃin.ta la ˈtɛ.sta ǁ]
[doˈvɛ‿l.la vitˈtɔːrja |]
[le ˈpɔr.ɡa la ˈkjɔːma |]
[ke ˈskjaːva di ˈroːma]
[idˈdiːo la kreˈɔ ǁ]

(repeat first stanza)

I
Brothers of Italy,[N 6]
Italy has risen,[N 7]
boundScipio'shelmet[N 8]
Upon her head.[N 9]
Where isVictory?[N 10]
Let her bow down,[N 11]
Because as a slave ofRome[N 12]
God did create her.[N 13]

(repeat first stanza)

Chorus:
𝄆 Let us join in acohort,[N 14]
we are ready for death.
We are ready for death,
Italy has called! 𝄇[N 15]
Yes![N 16]

II
We were for centuries
downtrodden, derided,
because we are not one people,
because we are divided.[N 17]
Let oneflag,one hope
gather us all.[N 18]
The hour has struck
for us to unite.

(repeat first stanza)

Chorus

III
Let us unite, let us love one another,
Union and love
Reveal to the peoples
The ways of the Lord.
Let us swear to set free
The land of our birth:
United, by God,
Who can overcome us?[N 19]

(repeat first stanza)

Chorus

IV
From the Alps to Sicily,
Legnano is everywhere;[N 20]
Every man hath the heart
and hand ofFerruccio[N 21]
The children of Italy
Are all calledBalilla;[N 22]
Every trumpet blast
soundeth theVespers.[N 23]

(repeat first stanza)

Chorus

V
The mercenary swords
Are feeble reeds.[N 24]
Already the Eagle ofAustria
Hath lost its plumes.[N 25]
The blood of Italy,
The blood ofPoland
It with Cossacks did drink,[N 26]
But will burn its heart.[N 27]

(repeat first stanza)

Chorus

VI
Long live Italy,
She has awoken from slumber,
bound Scipio's helmet[N 8]
Upon her head.[N 9]
Where is Victory?[N 10]
Let her bow down,[N 11]
Because as a slave of Rome[N 12]
God did create her.[N 13]

(repeat first stanza)

Chorus

Music

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TheItaly national football teamduring the playing of "Il Canto degli Italiani" before a match

Novaro's musical composition is written in a typicalmarchingtime (4/4)[84]and the key ofB-flat major.[85]It has a catchy character and an easymelodic linethat simplifies memory and execution.[84]On theharmonicandrhythmiclevel, the composition presents greater complexity.

From a musical point of view, the piece is divided into three parts: the introduction, thestrophesand therefrain.

The twelve-barintroduction is aninstrumentalatallegromartialpace,[86]with adactylrhythm that alternates one-eighth-notetwo-sixteenth-notes.The introduction divides into three four-bar segments, each alternating between atonic chordand itsdominant.The first four bars are in B♭ major; the second inG minor;and the last four bars return to B♭ to introduce the verses.

The strophes, therefore, attack inB♭.They repeat the same melodic unit, in variousdegreesand at differentpitches.Each melodic unit corresponds to a fragment of the Mamelianhexasyllable,in accordance with the classical bipartite scheme ( "Fratelli / d'Italia / ' Italia / s'è desta" ).[87]However, the usual leap of a diatonicintervaldoes not match theanacrusicrhythm: on the contrary, the verses «Fratelli / d'Italia» and «dell'elmo / di Scipio» eachbegin with identical notes(respectivelyForD). This weakens the syllable accentuation, and produces an audiblysyncopatedeffect, contrasting the natural short-long succession of theparoxytoneverse.[87]

As written, the basic melodic unit combines adottedeighth note and asixteenth note:

Some performances soften this rhythmic scan by equalizing the note durations (as aneighth note), for ease of singing and listening:[86]

At bar 31, the song undergoes an unusual shift for the refrain[9]recognizable in the most accredited recordings of theautographscore.[88]It accelerates to anallegro mosso,[84]and permanently modulates to E♭ major,[89]yielding only to therelative minor(C minor) during the tercet "Stringiamci a coorte / siam pronti alla morte / L'Italia chiamò".[9]Also, the refrain is characterized by a repeated melodic unit; in the last five bars, itgrows in intensity,passing frompianissimotofortetofortissimowith the indicationcrescendoe accelerando sino alla fine( "growing and accelerating to the end" ).[90]

Recordings

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Score of "Il Canto degli Italiani"

The two authors have been dead for more than 70 years, and thecopyrightshave lapsed; the work ispublic domain.Novaro disclaimed compensation for printing music, ascribing his work to the patriotic cause. Giuseppe Magrini, who made the first print of "Il Canto degli Italiani", asked only for a certain number of printed copies for personal use. At Tito Ricordi's 1859 request to reprint the text of the song with his publishing house, Novaro ordered that the money be directly paid in favour of a subscription forGiuseppe Garibaldi.[91]

Nevertheless, the publisherSonzognohas attempted to collect royalties for use of the "Il Canto degli Italiani"score.[92]It also has the possibility of making the official prints of the piece.[23]

The oldest known sound recording of "Il Canto degli Italiani" (disc at78 rpmforgramophone,17 cm in diameter) is a 1901 recording of theMunicipal Band of Milanunder the direction ofPio Nevi[it].[93]

One of the first recordings of "Fratelli d'Italia" was that of 9 June 1915, which was performed by theNeapolitan opera and musicsingerGiuseppe Godono[it].[94]The song was recorded for thePhonotype[it]label of Naples.[95]

Another ancient recording received is that of the Gramophone Band, recorded in London forHis Master's Voiceon 23 January 1918.[96]

During events

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Over the years a public ritual has been established for the anthem's performance, still in force.[97]According to the custom, whenever the anthem is played, if in an outdoor military ceremony personnel in formation present arms while personnel not in formation stand at attention (unless when saluting during the raising and lowering of the national flag, as well as the trooping of the national flag for service or unit decorations). If indoors (including military band concerts), all personnel stand at attention.[97]Civilians, if they wish, can also put themselves to attention.[98]On the occasion of official events, only the first two stanzas should be performed without the introduction.[63][97]If the event is institutional, and a foreign hymn must also be performed, this is played first as an act of courtesy.[97]

In 1970, the obligation, however, to perform the "Ode to Joy"ofLudwig van Beethoven,that is the officialanthem of Europe,whenever "Il Canto degli Italiani" is played, remained almost always unfulfilled.[97]

Notes

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  1. ^SeeHelp:IPA/ItalianandItalian phonology.
  1. ^This alludes to theflag of Italyand to thecockade of Italy,both symbols of the battle for theunification of Italy.
  2. ^A differenttensemay be found:Noi siamo da secoli,"We have been for centuries".
  3. ^Occasionally writtenUniamoci, uniamoci,especially in older publications.[77][78]
  4. ^Often writtenha il core e la mano,[79]especially in older publications.[76]: 18 [80]
  5. ^Occasionally writtenma il sen le bruciò( "but it burnt its breast" ), especially in older publications.[81][82]
  6. ^The Italians belong to a single people and are therefore "brothers".[64]
  7. ^"Italy has woken up"; that is, it is ready to fight.[3]
  8. ^abScipio Africanus,winner ofBattle of Zama,exemplifies theRoman Republic's recovery from defeats to valiantly and victoriously fight the enemy.[3]
  9. ^abScipio's helmet, which Italy has now worn, is a symbol of the impending struggle against theAustrian Empireoppressor.[3]
  10. ^abThegoddess Victoria.For a long time, the goddess Vittoria was closely linked toancient Rome,but now she is ready to dedicate herself to the new Italy for the series of wars that are necessary to drive the foreigners out of the national soil and unify the country.[3]
  11. ^abLiterally "tender her hair". Ancient Rome cut slaves' hair to distinguish them from free women, so Victoria must consign her hair to Italy and become a "slave" of it.[3]
  12. ^abAncient Rome made, with its conquests, the goddess Victoria "its slave".[3]
  13. ^abAncient Rome was great by God's design.[3]
  14. ^Literally, "Let us tighten in a cohort," alluding to the combat unit of theancient Roman army.This very strong military reference, reinforced by the appeal to the glory and military power of ancient Rome, once again calls all men to arms against the oppressor.[3]
  15. ^This alludes to the call to arms of the Italian people with the aim of driving out the foreign ruler from national soil andunifying Italy,still divided into pre-unification states.[3]
  16. ^Not included in the original text, but always used at official occasions.[41]
  17. ^Mameli underlines the fact that Italy, understood as theItalian region,was not united. At the time (1847), in fact, it was still divided into nine states. For this reason, Italy had for centuries been often treated as a land of conquest.[3]
  18. ^Italy, still divided among the pre-unification states, will finally gather under a singleflag,merging into one country.[3]
  19. ^The third verse, which is dedicated to the political thought ofGiuseppe Mazzini,founder ofYoung ItalyandYoung Europe,incites the search for national unity through the help ofdivine providenceand thanks to the participation of the entire Italian people finally united in a common intent.[3]
  20. ^In theBattle of Legnanoof 29 May 1176, theLombard LeaguedefeatedFrederick Barbarossa;here, the event symbolizes the fight against foreign (Austrian) oppression.Legnanois the only city besidesRomementioned in the anthem.[3]
  21. ^Francesco Ferruccio,defender of theFlorentine Republicduring the1530 siegeagainst the troops ofCharles V, Holy Roman Emperor,who sought to restore theMedicilordship. In this circumstance, the dying Ferruccio was cowardly finished with a stab byFabrizio Maramaldo,a captain of fortune in the service of Carlo V. "Vile, you kill a dead man", were the famous words of infamy that the hero addressed to his killer.[3]
  22. ^Nickname ofGiovan Battista Perasso,on 5 December 1746, began, after throwing a stone at an officer, the Genoese revolt that expulsed the occupyingArchduchy of Austriafrom the city.[3]
  23. ^TheSicilian Vespers,an uprising against the French beginning onEaster Monday1282, began with the signal of the city bells ofPalermo.[3]
  24. ^Mercenaries,whose use isanachronisticallyattributed to theAustrian Empire,are not valiant like the patriotic heroes but weak like rushes.[3]
  25. ^TheAustrian Empireis in decline.[83]
  26. ^Polandhadhad been dismemberedby theAustrian Empireand itsRussianandPrussianallies in living memory.[3]
  27. ^A wish and an omen: the blood of oppressed peoples, who will rise up against the Austrian Empire, will mark the end.[3]

References

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  1. ^Migliorini, Bruno;Tagliavini, Carlo; Fiorelli, Piero; Borri, Tommaso Francesco."degli".Dizionario d'Ortografia e di Pronuncia[Dictionary of Orthography and Pronunciation] (in Italian).RAI.
  2. ^"Italy – Il Canto degli Italiani/Fratelli d'Italia".NationalAnthems.me.Archived fromthe originalon 19 May 2018.Retrieved24 November2011.
  3. ^abcdefghijklmnopqrstuvwx"L'Inno nazionale"[The National Hymn].Presidenza Della Republica [Presidency of the Republic].Government of Italy. Archived fromthe originalon 19 May 2016.Retrieved17 November2013.
  4. ^abcdCaddeo 1915,p. 37.
  5. ^Associazione Nazionale Volontari di Guerra "Canti della Patria"[ "Patrimonial songs" of the National Association of Veteran Volunteers] inIl Decennale – X anniversario della Vittoria, Anno VII dell'era fascista[The Decennial: The 10th anniversary of victory, Year 7 of thefascist era], Vallecchi Editore,Firenze,1928, p. 236.
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  7. ^abMaiorino 2002,p. 17.
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  14. ^Calabrese 2011,p. 121.
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  91. ^Calabrese 2011,pp. 127–128.
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Works cited

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