Гимн Италии: История и становление "Il Canto degli Italiani"

National anthem of Italy

"italic=no" (; ) is a patriotic song written by Goffredo Mameli and set to music by Michele Novaro in 1847, currently serving as the national anthem of Italy. It is best known among Italians as the "italic=no" (; ), after the author of the lyrics, or "italic=no" (; ), 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.

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). Sources differ on the precise date of the text's drafting: according to some scholars, Mameli wrote the hymn 10 September 1847, while others date the composition's birth to two days before, 8 September. After discarding all extant music, on 10 November 1847 Goffredo Mameli sent the text to Turin and the Genoese composer Michele Novaro, who lived at the time with the activist Lorenzo Valerio. The poem captured Novaro and he decided to set it to music on 24 November 1847. Thirty years later, the patriot and poet Anton Giulio Barrili recalled Novaro's description of the event thus: but eliminated by Mameli before the official debut. It read: and used a first draft of "Il Canto degli Italiani" that differs from the final version (see above). 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. On 18 December 1847, the Pisan newspaper L'Italia wrote how the song evoked public spirits: For many evenings numerous youths have come together in the Accademia filodrammatici to sing a hymn of Mameli, set to music by the maestro Novaro. Poetry is full of fire, music fully corresponds to it | author=|source=Newspaper L'Italia, 18 December 1847

Two of Mameli's autographed manuscripts have survived to the 21st century: the first draft, with Mameli's hand annotations, at the Museo del Risorgimento e istituto mazziniano, and the letter, from Mameli on 10 November 1847 to Novaro, at the Museo del Risorgimento in Turin. Novaro's autographed manuscript to the publisher it is located in the Ricordi Historical Archive. 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. The hymn was also printed on leaflets in Genoa, by the printer Casamara.

"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, and catchy songs like "Il Canto degli Italiani" could spread by word of mouth. Patriots from the 10 December demonstration spread the hymn all over the Italian peninsula. The hymn was very popular among the Italian people and the ranks of the Republican volunteers. It was commonly sung in most parts of Italy during demonstrations, protests and revolts as a symbol of the Italian unification. The Savoyard authorities censored the fifth strophe The rebels sang "Il Canto degli Italiani" during the Five Days of Milan and at Charles Albert of Piedmont Sardinia's promulgation of the Statuto Albertino (also in 1848). Volunteers for the brief Roman Republic (1849) sung it, and Giuseppe Garibaldi hummed and whistled it during the defense of Rome and the flight to Venice.

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. 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"), 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, and did not combine well with the monarchical conclusion to the unification of Italy. Mameli's republican — in fact Mazzinian — creed, was, however, more historical than political, and socialist and anarchist circles also disliked "Il Canto degli Italiani" as too conservative. The song was one of the most common songs during the Third Italian War of Independence (1866). At the Capture of Rome on 20 September 1870, the last step in Italian unification, choirs sang it together with it and the "Marcia Reale"; and "Il Canto degli Italiani" received bersaglieri fanfare. After the end of the Italian unification, "Il Canto degli Italiani" was taught in schools, and remained very popular among Italians. However, other musical pieces connected to the political and social situation of the time, such as the Inno dei lavoratori or "Goodbye to Lugano", addressed everyday problems. These partly obscured the popularity of reunification hymns. "Fratelli d'Italia", thanks to references to patriotism and armed struggle, Cooperation with the fascist dictatorship was now egg on the monarchy's face; 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. "Fratelli d'Italia" resounded in Allies freed Southern Italy and partisan controlled areas to the north. "Il Canto degli Italiani", in particular, had a good success in anti fascist circles, where it joined partisan songs "Fischia il vento" and "Bella ciao". 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. Often, "Il Canto degli Italiani" is wrongly referred to as the national anthem of the Fascist era. However, Mussolini's Republic had no official anthem, playing "Il Canto degli Italiani" and "Giovinezza" equally often at the ceremonies. "Il Canto degli Italiani" retained value to the fascists only for propaganda. So Mameli's hymn was, curiously, sung by both partisans and fascists. 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 |author=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. Instead, he proposed to formalize "Il Canto degli Italiani" in the Constitution of Italy, then being drafted. 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. 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. "Il Canto degli Italiani" nonetheless had great success among Italian emigrants: "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. In particular, it was the "soundtrack" of post WWII fundraisers in the Americas for the Italian population left devastated by the conflict. President of the Republic Carlo Azeglio Ciampi, began, from 1999 to 2006, to revive "Il Canto degli Italiani" as a national symbol of Italy. Ciampi declared that: 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 |author=Carlo Azeglio Ciampi

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, and passed out of committee in July 2017. 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.

Over the years a public ritual has been established for the anthem's performance, still in force. 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. Civilians, if they wish, can also put themselves to attention. On the occasion of official events, only the first two stanzas should be performed without the introduction. If the event is institutional, and a foreign hymn must also be performed, this is played first as an act of courtesy. 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.