Il Canto degli Italiani
Template:Short description Template:Redirect Template:Use dmy dates Template:Infobox anthem
"Template:Lang" (Template:IPA;<ref>Template:Cite book</ref> Template:Translation) is a patriotic song written by Goffredo Mameli and set to music by Michele Novaro in 1847,<ref>Template:Cite web</ref> currently used as the national anthem of Italy. It is best known among Italians as the "Template:Lang" (Template:IPA; Template:Translation), after the author of the lyrics, or "Template:Lang" (Template:IPA; Template:Translation), from its opening line. The piece, in 4/4 time signature and B-flat major key, has six strophes, and a refrain sung after each. The sixth group of verses, almost never performed, recalls the first strophe's text.
The song was very popular during Italian unification and the following decades. However, after the Kingdom of Italy's 1861 proclamation, the republican and Jacobin connotations of "Fratelli d'Italia" were difficult to reconcile with the new state's monarchic constitution. The kingdom chose instead "Marcia Reale" (Royal March), the House of Savoy's official anthem, composed by order of King Charles Albert of Sardinia in 1831.
After the Second World War, Italy became a republic. On 12 October 1946, it chose "Il Canto degli Italiani" as a provisional national anthem. The song would retain this role as de facto anthem of the Italian Republic, and after several unsuccessful attempts, gained de jure status on 4 December 2017.
History
[edit]Origins
[edit]
The text of "Il Canto degli Italiani" was written by the Genoese Goffredo Mameli, then a young student and a fervent patriot, inspired by the mass mobilizations that would lead to the revolutions of 1848 and the First Italian War of Independence (1848–1849).<ref name="quirinale">Template:Cite web</ref> Sources differ on the precise date of the text's drafting: according to some scholars, Mameli wrote the hymn 10 September 1847,Template:Sfn while others date the composition's birth to two days before, 8 September.<ref>Associazione Nazionale Volontari di Guerra "Canti della Patria" ["Patrimonial songs" of the National Association of Veteran Volunteers] in Il Decennale – X anniversario della Vittoria, Anno VII dell'era fascista [The Decennial: The 10th anniversary of victory, Year 7 of the fascist era], Vallecchi Editore, Firenze, 1928, p. 236.</ref> After discarding all extant music,Template:Sfn on 10 November 1847Template:Sfn Goffredo Mameli sent the text to Turin and the Genoese composer Michele Novaro, who lived at the time with the activist Lorenzo Valerio.Template:SfnTemplate:SfnTemplate:Sfn
The poem captured Novaro<ref name="Treccani">Template:Treccani</ref> and he decided to set it to music on 24 November 1847.Template:Sfn Thirty years later, the patriot and poet Anton Giulio Barrili recalled Novaro's description of the event thus:<ref name="quirinale" />
Mameli held Republican and Jacobin sympathiesTemplate:SfnTemplate:Sfn and supported the French Revolution credo liberté, égalité, fraternité.Template:Sfn The text of "Il Canto degli Italiani" drew inspiration from the French national anthem, "La Marseillaise".Template:Sfn For example, "Template:Lang" recalls the "La Marseillaise" verse, "Template:Lang" ("Form your battalions").Template:Sfn
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.Template:Sfn The latter, when he received the manuscript, also added a rebellious "Si!" ("Yes!") at the end of the final refrain.Template:SfnTemplate:Sfn
Another verse in the first draft was dedicated to Italian women,<ref name="marconi2">Template:Cite web</ref> but eliminated by Mameli before the official debut. It read:<ref name="marconi2" />Template:Sfn "Tessete o fanciulle / bandiere e coccarde / fan l'alme gagliarde / l'invito d'amor. (Template:IPA. English: Weave maidens / flags and cockadesTemplate:Refn / they make souls gallant / the invitation of love.)"
Debut
[edit]
On 10 December 1847,<ref name="marconi2" /> a demonstration before the Template:Lang in Template:Ill, Genoa, was officially dedicated to the 101st anniversary of the Portoria quarter's popular rebellion during the War of the Austrian Succession, which had expulsed the Austrians from the city. In fact, it was an excuse to protest against foreign occupations in Italy and induce Charles Albert of Sardinia to embrace the Italian cause of liberty and of unity.
On this occasion, the flag of Italy was shown and Filarmonica Sestrese, the municipal band of Sestri Ponente, played Mameli's anthem for 30,000 patriots who had come to Genoa from all over Italy for the event.Template:Sfn 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.Template:Sfn
That performance would have been by the Filarmonica VoltreseTemplate:Sfn founded by Goffredo's brother Template:Ill,<ref>Template:Cite web</ref> and used a first draft of "Il Canto degli Italiani" that differs from the final version (see above).Template:Sfn As its author was infamously Mazzinian, the piece was forbidden by the Piedmontese police until March 1848: its execution was also forbidden by the Austrian police, which also pursued its singing interpretation — considered a political crime — until their empire's dissolution.Template:Sfn On 18 December 1847, the Pisan newspaper L'Italia wrote how the song evoked public spirits:Template:Sfn Template:Blockquote
Two of Mameli's autographed manuscripts have survived to the 21st century: the first draft, with Mameli's hand annotations, at the Template:Ill,Template:Sfn and the letter, from Mameli on 10 November 1847 to Novaro, at the Museo del Risorgimento in Turin.Template:Sfn
Novaro's autographed manuscript to the publisher Template:Ill is located in the Ricordi Historical Archive.<ref>Template:Cite web</ref> 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 in Genoa.<ref>Template:Cite web</ref> The hymn was also printed on leaflets in Genoa, by the printer Casamara.
The following decades
[edit]
"Il Canto degli Italiani" debuted with only a few months left to the revolutions of 1848. Shortly before the promulgation of the Statuto Albertino, the constitution that Charles Albert of Sardinia conceded to the Kingdom of Sardinia in Italy on 4 March 1848, political gatherings of more than ten people had become legal,Template:Sfn and catchy songs like "Il Canto degli Italiani" could spread by word of mouth.Template:Sfn Patriots from the 10 December demonstration spread the hymn all over the Italian peninsula.Template:Sfn The hymn was very popular among the Italian people and the ranks of the Republican volunteers.Template:Sfn It was commonly sung in most parts of Italy during demonstrations, protests and revolts as a symbol of the Italian unification.Template:Sfn
The Savoyard authorities censored the fifth strophe<ref name=quirinale/> to preserve diplomatic relations with the Austrians; but after the declaration of war against the Austrian Empire and the beginning of the First Italian War of Independence (1848–1849),Template:Sfn the soldiers and the Savoy military bands performed it so frequently that King Charles Albert was forced to withdraw all censorship.<ref name=lastampa>Template:Cite web</ref> The rebels sang "Il Canto degli Italiani" during the Five Days of Milan<ref>Template:Cite web</ref> and at Charles Albert of Piedmont-Sardinia's promulgation of the Statuto Albertino (also in 1848).<ref>Template:Cite web</ref> Volunteers for the brief Roman Republic (1849) sang it,Template:Sfn<ref>Template:Cite web</ref> and Giuseppe Garibaldi hummed and whistled it during the defense of Rome and the flight to Venice.Template:Sfn
From the unification of Italy to the First World War
[edit]
In the 1860, the corps of volunteers led by Giuseppe Garibaldi used to sing the hymn in the battles against the Bourbons in Sicily and Southern Italy during the Expedition of the Thousand.<ref>Template:Cite web</ref> Giuseppe Verdi, in his Inno delle nazioni ("Hymn of the nations"), composed for the London International Exhibition of 1862, chose "Il Canto degli Italiani" to represent Italy, putting it beside "God Save the Queen" and "La Marseillaise".
After the proclamation of the Kingdom of Italy (1861), the "Marcia Reale" ("Royal March"),Template:Sfn composed in 1831, was chosen as the national anthem of unified Italy. "Il Canto degli Italiani" had too radical content, with its strong republican and Jacobin connotations,Template:SfnTemplate:Sfn and did not combine well with the monarchical conclusion to the unification of Italy.Template:Sfn Mameli's republican — in fact Mazzinian — creed, was, however, more historical than political,Template:Sfn and socialist and anarchist circles also disliked "Il Canto degli Italiani" as too conservative.Template:Sfn
The song was one of the most common songs during the Third Italian War of Independence (1866).Template:Sfn At the Capture of Rome on 20 September 1870, the last step in Italian unification, choirs sang it together with "La bella Gigogin" and the "Marcia Reale";Template:SfnTemplate:Sfn and "Il Canto degli Italiani" received bersaglieri fanfare.<ref>Template:Cite web</ref>
After the end of the Italian unification, "Il Canto degli Italiani" was taught in schools, and remained very popular among Italians.Template:Sfn However, other musical pieces connected to the political and social situation of the time, such as the "Template:Ill" ("Hymn of the Workers") or "Goodbye to Lugano",Template:Sfn addressed everyday problems. These partly obscured the popularity of reunification hymns.<ref name="raistoria">Template:Cite web</ref>
"Fratelli d'Italia", thanks to references to patriotism and armed struggle,<ref name="raistoria" /> returned to success during the Italo-Turkish War (1911–1912), where it joined "A Tripoli";Template:Sfn and in the trenches of the First World War (1915–1918).<ref name="raistoria" /> That time's Italian irredentism found a symbol in "Il Canto degli Italiani", although in the years following heTemplate:Who would have been preferred, in the patriotic ambit, musical pieces of greater military style such as "La Leggenda del Piave", the "Template:Ill" or "Template:Ill".Template:Sfn Shortly after Italy entered the First World War, on 25 July 1915, Arturo Toscanini performed "Il Canto degli Italiani" at an interventionist demonstration.Template:SfnTemplate:Sfn
During fascism
[edit]
Fascist chants, such as "Giovinezza" (or "Inno Trionfale del Partito Nazionale Fascista") took on great importance, after the 1922 March on Rome.Template:Sfn Although not official anthems, they were widely disseminated, publicized, and taught in schools.Template:Sfn Non-fascist melodies, including "Il Canto degli Italiani," were discouraged.<ref name=raistoria/>
In 1932, the National Fascist Party secretary Achille Starace decided to prohibit musical pieces that did not sing to Benito Mussolini and, more generally, did not link to fascism.Template:Sfn "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.Template:Sfn Sympathetic regimes' anthems, such as the Nazi hymn "Horst-Wessel-Lied" and the Francoist song "Cara al Sol", were contrariwise encouraged.Template:Sfn After the 1929 Lateran Treaty with the Holy See, anti-clerical passages were also banned.Template:Sfn
In the spirit of this directive, some songs were resized, such as "La Leggenda del Piave", sung almost exclusively during the National Unity and Armed Forces Day every 4 November.Template:Sfn The chants used during the Italian unification were however tolerated:Template:SfnTemplate:Sfn "Il Canto degli Italiani", which was forbidden in official ceremonies, received a certain condescension on particular occasions.Template:Sfn
During the Second World War, regime musicians released fascist pieces via radio, but very few songs spontaneously arose among the population.Template:Sfn Songs like "A primavera viene il bello", "Battaglioni M", "Vincere!" and "Camerata Richard" were common. The most famous spontaneous song was "Template:Ill".Template:Sfn
After the 8 September 1943 armistice, the Italian government provisionally adopted as a national anthem "La Leggenda del Piave", replacing the "Marcia Reale".Template:Sfn<ref>Template:Cite news</ref><ref>Template:Cite news</ref> Cooperation with the fascist dictatorship was now egg on the monarchy's face;Template:Sfn a song that recalled the Italian victory in World War I could infuse courage and hope to the Royal Italian Army troops who now fought against Mussolini's Social Republic and Nazi Germany.Template:Sfn
"Fratelli d'Italia" resounded in Allies-freed Southern Italy and partisan-controlled areas to the north.Template:Sfn "Il Canto degli Italiani", in particular, had a good success in anti-fascist circles,Template:Sfn where it joined partisan songs "Fischia il vento" and "Bella ciao".Template:SfnTemplate:Sfn 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.Template:Sfn
Often, "Il Canto degli Italiani" is wrongly referred to as the national anthem of the Italian Social Republic. However, Mussolini's Republic had no official anthem, playing "Il Canto degli Italiani" and "Giovinezza"<ref name="CantiRev">Review of I canti di Salò (De Marzi) (in Italian). Accessed 17 November 2014.</ref> equally often at the ceremonies. "Il Canto degli Italiani" retained value to the fascists only for propaganda.<ref>Template:Cite web</ref>
So Mameli's hymn was, curiously, sung by both partisans and fascists.<ref name="CantiRev" />
From provisional to official anthem
[edit]
In 1945, at the end of the war, Arturo Toscanini directed a performance of Giuseppe Verdi's 1862 Inno delle nazioni in London, including "Il Canto degli Italiani".<ref name=quirinale/>Template:Sfn However, even after the birth of the Italian Republic, "La Leggenda del Piave" remained the temporary national anthem.Template:Sfn
For the new anthem, a debate arose. Possible options included "Va, pensiero" from Verdi's Nabucco; a completely new piece; "Il Canto degli Italiani"; the "Inno di Garibaldi"; and confirmation of "La Leggenda del Piave".Template:SfnTemplate:Sfn The government then approved Republican War Minister Cipriano Facchinetti's proposal to adopt "Il Canto degli Italiani" as provisional anthem.Template:Sfn
"La Leggenda del Piave" thus served as national anthem until the Council of Ministers meeting on 12 October 1946, when Facchinetti officially announced the provisional anthem for the 4 November National Unity and Armed Forces Day celebrations.Template:SfnTemplate:Sfn The press release stated:<ref name="governo">Template:Cite web</ref>
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.Template:Sfn<ref name="marconi">Template:Cite web</ref> Instead, he proposed to formalize "Il Canto degli Italiani" in the Constitution of Italy, then being drafted.Template:Sfn
The Constitution, finished in 1948, determined the national flag , but did not establish a national anthem or emblem; the latter was adopted by legislative decree on 5 May.<ref name="emblema">Template:Cite web</ref> 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.Template:Sfn
"Il Canto degli Italiani" nonetheless had great success among Italian emigrants:Template:Sfn "Fratelli d'Italia" scores are sold in Little Italies across the Anglosphere, and "Il Canto degli Italiani" is often played on more or less official occasions in North and South America.Template:Sfn In particular, it was the "soundtrack" of post-WWII fundraisers in the Americas for the Italian population left devastated by the conflict.Template:Sfn
President of the Republic Carlo Azeglio Ciampi, began, from 1999 to 2006, to revive "Il Canto degli Italiani" as a national symbol of Italy.Template:SfnTemplate:Sfn Ciampi declared that:Template:Sfn Template:Blockquote
In August 2016, a bill was submitted to the Constitutional Affairs Committee of the Chamber of Deputies to make "Il Canto degli Italiani" Italy's national anthem,<ref>Template:Cite news</ref> and passed out of committee in July 2017.<ref>Template:Cite news</ref> On 15 December 2017, on Gazzetta Ufficiale law nº 181 of 4 December 2017, was published after passing both houses of Parliament, and the law came into force on 30 December 2017.<ref>Template:Cite web</ref>
Lyrics
[edit]This is the complete Italian anthem text, as commonly performed on official occasions. Goffredo Mameli's original poem includes neither repetitions nor the loud "Template:Lang" ("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 as Rome was in ancient times, "wearing" the helmet of Scipio Africanus who defeated Hannibal at the final battle of the Second Punic War. It also alludes to the ancient Roman custom that slaves cut their hair short as a sign of servitude: hence the Goddess of Victory must cut her hair and enslave herself to Rome (to make Italy victorious).<ref>Template:Cite web</ref>
In the second strophe the author complains that Italy has been a divided nation for a long time, and calls for unity. In this strophe Mameli uses three poetic and archaic words: Template:Lang (modern Italian: Template:Lang), Template:Lang (modern Template:Lang), Template:Lang (modern Template:Lang).
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: the battle of Legnano, the defence of Florence led by Ferruccio during the Italian Wars, the riot started in Genoa by Balilla, and the Sicilian Vespers. The fifth strophe unequivocally marks Habsburg Austria as the Italian cause's primary enemy. It also links the Polish quest for independence to the Italian one.<ref name="quirinale" />
The sixth and final verse, almost never performed,<ref>Template:Cite web</ref> 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.<ref name=":0">Template:Cite web</ref> 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<ref name=":0" /> | IPA transcription as sungTemplate:Efn | English translation |
|---|---|---|
| <poem>Template:Lang</poem> | <poem>Template:IPA</poem> | <poem>I
Brothers of Italy,Template:Refn Italy has risen,Template:Refn bound Scipio's helmetTemplate:Refn Upon her head.Template:Refn Where is Victory?Template:Refn Let her bow down,Template:Refn Because as a slave of RomeTemplate:Refn God did create her.Template:Refn (repeat first stanza) Template:Small 𝄆 Let us join in a cohort,Template:Refn we are ready for death. We are ready for death, Italy has called! 𝄇Template:Refn Yes!Template:Refn II We were for centuries downtrodden, derided, because we are not one people, because we are divided.Template:Refn Let one flag, one hope gather us all.Template:Refn The hour has struck for us to unite. (repeat first stanza) 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?Template:Refn (repeat first stanza) IV From the Alps to Sicily, Legnano is everywhere;Template:Refn Every man hath the heart and hand of FerruccioTemplate:Refn The children of Italy Are all called Balilla;Template:Refn Every trumpet blast soundeth the Vespers.Template:Refn (repeat first stanza) V The mercenary swords Are feeble reeds.Template:Refn Already the Eagle of Austria Hath lost its plumes.Template:Refn The blood of Italy, The blood of Poland It with Cossacks did drink,Template:Refn But will burn its heart.Template:Refn (repeat first stanza) VI Long live Italy, She has awoken from slumber, bound Scipio's helmetTemplate:Refn Upon her head.Template:Refn Where is Victory?Template:Refn Let her bow down,Template:Refn Because as a slave of RomeTemplate:Refn God did create her.Template:Refn (repeat first stanza) Template:Small</poem> |
Music
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Novaro's musical composition is written in a typical marching time (4/4)Template:Sfn and the key of B-flat major.Template:Sfn It has a catchy character and an easy melodic line that simplifies memory and execution.Template:Sfn On the harmonic and rhythmic level, the composition presents greater complexity.
From a musical point of view, the piece is divided into three parts: the introduction, the strophes and the refrain.
The twelve-bar introduction is an instrumental at allegro martial pace,Template:Sfn with a dactyl rhythm that alternates one-eighth-note two-sixteenth-notes. The introduction divides into three four-bar segments, each alternating between a tonic chord and its dominant. The first four bars are in B♭ major; the second in G minor; and the last four bars return to B♭ to introduce the verses.
The strophes, therefore, attack in B♭. They repeat the same melodic unit, in various degrees and at different pitches. Each melodic unit corresponds to a fragment of the Mamelian hexasyllable, in accordance with the classical bipartite scheme ("Fratelli / d'Italia / ' Italia / s'è desta").Template:Sfn However, the usual leap of a diatonic interval does not match the anacrusic rhythm: on the contrary, the verses «Fratelli / d'Italia» and «dell'elmo / di Scipio» each begin with identical notes (respectively F or D). This weakens the syllable accentuation, and produces an audibly syncopated effect, contrasting the natural short-long succession of the paroxytone verse.Template:Sfn
As written, the basic melodic unit combines a dotted eighth note and a sixteenth note: <score sound=1>\relative f' { \clef treble \time 4/4 \key bes \major r2 r4 f4 f8. g16 f4 r4 d'4 d8. ees16 d4 r4 d4 f8. ees16 d4 r4 c4 d8. c16 bes4 r4 } \addlyrics { Fra – tel – li d'I – ta – lia, l'I – ta – lia s'è de – sta }</score>
Some performances soften this rhythmic scan by equalizing the note durations (as an eighth note), for ease of singing and listening:Template:Sfn <score sound=1>\relative f' { \clef treble \time 4/4 \key bes \major r2 r4 f4 f8 g8 f4 r4 d'4 d8 ees8 d4 r4 d4 f8 ees8 d4 r4 c4 d8 c8 bes4 r4 } \addlyrics { Fra – tel – li d'I – ta – lia, l'I – ta – lia s'è de – sta }</score>
At bar 31, the song undergoes an unusual shift for the refrain<ref name="Treccani" /> recognizable in the most accredited recordings of the autograph score.<ref>Template:Cite web See in particular the versionTemplate:Dead link of the Ensemble Coro di Torino directed by Maurizio Benedetti.</ref> It accelerates to an allegro mosso,Template:Sfn and permanently modulates to E♭ major,Template:Sfn yielding only to the relative minor (C minor) during the tercet "Stringiamci a coorte / siam pronti alla morte / L'Italia chiamò".<ref name="Treccani"/> Also, the refrain is characterized by a repeated melodic unit; in the last five bars, it grows in intensity, passing from pianissimo to forte to fortissimo with the indication crescendo e accelerando sino alla fine ("growing and accelerating to the end").Template:Sfn
Recordings
[edit]Template:Multiple image The two authors have been dead for more than 70 years, and the copyrights have lapsed; the work is public 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 for Giuseppe Garibaldi.Template:Sfn
Nevertheless, the publisher Sonzogno has attempted to collect royalties for use of the "Il Canto degli Italiani" score.<ref>Template:Cite web</ref> It also has the possibility of making the official prints of the piece.Template:Sfn
The oldest known sound recording of "Il Canto degli Italiani" (disc at 78 rpm for gramophone, 17 cm in diameter) is a 1901 recording of the Municipal Band of Milan under the direction of Template:Ill.<ref>Template:Cite news</ref>
One of the first recordings of "Fratelli d'Italia" was that of 9 June 1915, which was performed by the Neapolitan opera and music singer Template:Ill.<ref>Template:Cite web</ref> The song was recorded for the Template:Ill label of Naples.<ref>Template:Cite news</ref>
Another ancient recording received is that of the Gramophone Band, recorded in London for His Master's Voice on 23 January 1918.<ref>Template:Cite web</ref>
During events
[edit]Over the years a public ritual has been established for the anthem's performance, still in force.Template:Sfn 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.Template:Sfn Civilians, if they wish, can also put themselves to attention.<ref>Bill #4331 of the 16th legislature (in Italian), proposal by Franceschini De Pasquale. Retrieved 15 Oct 2015.</ref> On the occasion of official events, only the first two stanzas should be performed without the introduction.<ref name="governo" />Template:Sfn If the event is institutional, and a foreign hymn must also be performed, this is played first as an act of courtesy.Template:Sfn
In 1970, the obligation, however, to perform the "Ode to Joy" of Ludwig van Beethoven, that is the official anthem of Europe, whenever "Il Canto degli Italiani" is played, remained almost always unfulfilled.Template:Sfn Template:Clear
Notes
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References
[edit]Works cited
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External links
[edit]Template:Wikisource lang Template:Wikisource
- Page on the official site of the Quirinale, residence of the Head of State
(in Italian with several recorded performances – click on ascolta l'Inno and choose a file to listen) - Template:Cantorion
- Streaming audio, lyrics and information about the Italian national anthem
- Listen to the Italian national anthem
- Template:IMSLP2 (Version for chorus and piano by Claudio Dall'Albero on a musical proposal of Luciano Berio)
Template:National symbols of Italy Template:Italy topics Template:Nationalanthemsofeurope Template:Authority control