1.0 HYMN OF SICILY

To make this research more accessible, it is necessary to present a historical overview that, on one hand, helps clarify the connections within the study, and on the other hand, allows for a comprehensive immersion in this reality.

Following the Vespers, Sicily proclaimed itself the independent Kingdom of Sicily Ultra, with Peter I of Sicily ascending the throne. Over the next centuries, the Kingdom of Naples and the Kingdom of Sicily would oscillate between unity and separation. This culminated in 1442 with Alfonso V of Aragon ruling both realms, though they remained distinct kingdoms until their final reunification centuries later. 

Image 2. A New Map of Sicily the First or the Kingdom of Naples. Drawn with Several Additions, from Zannoni’s Map Published by Order of the King of the Two Sicilies, published May 12, 1799, by Laurie & Whittle, 53 Fleet Street, London; engraved by B. Baker, Islington, Digital Public Library of America, accessed February 19, 2025, https://dp.la/item/2ee00f6045d5dd8395e732bc65b80f4b.

By 1815, following the Napoleon's defeat, Ferdinand returned to Naples with the goal of reuniting the Kingdom of Naples and Sicily. In 1816, he assumed the title of Ferdinand I of the Two Sicilies. However, this union came at a great cost to Sicily, which effectively lost its autonomy and constitution. The discontent among the Sicilian nobility and aristocracy soon led to widespread opposition, as the island had enjoyed nearly six centuries of relative independence. Secret societies began to form with the goal of reclaiming Sicily's political rights, and the tension simmered for 600 years. The result was a campaign against the king and propaganda to affirm the Sicilian identity, especially by the aristocracy. This also led to the formation of secret societies with the aim of reclaiming some political positions that the Sicilians had lost after the formation of the unified kingdom. Thus, revolts began to break out within the kingdom, eventually leading to a coup d'état; Ferdinand then decided to grant the constitution.

On multiple occasions, Sicily attempted to regain the independence of its kingdom, eventually forcing the government to impose its rule by force. Meanwhile, however, the lack of cooperation between the various Sicilian cities led to the weakening of this campaign and the provisional government that had declared itself independent. Soon, Sicily returned under the constitution of Naples.

The second “echo from the people” in which music and history intertwine arrives in 1848. In the revolutionary fervor sweeping across Europe, Sicily once again rose up in defiance against Bourbon rule. This time, the insurrection was not only a demand for political autonomy, but also a cultural awakening, in which music became an instrument of resistance. Among the most emblematic pieces of this period is Suoni la tromba, or Suoni la tromba, e intrepido, a cabaletta from I Puritani (1835) by the Sicilian composer Vincenzo Bellini. The piece, originally written as a duet between the characters of Giorgio and Riccardo, soon transcends the operatic stage to become a rallying cry for Sicilian revolutionaries. Considered a symbol of defiance, the song was censored by the Bourbon regime, which modified the lyrics by replacing the word “freedom” with “loyalty.” However, as the revolution took hold, the original version was restored and echoed in the streets of Palermo and throughout the island.

Example 1. Suoni la tromba, e trepido by V. Bellini

The revolution of 1848 led to the establishment of a provisional government and the self-proclamation of the Kingdom of Sicily, which resumed the constitution of 1812. Music played an essential role in strengthening the spirit of resistance. Bellini's Suoni la tromba was often performed in the new Teatro Bellini in Palermo, where on February 26, 1848, the famous soprano Teresa Parodi gave a touching rendition. The piece's influence even reached the United States, where the North American Review documented its importance. Almost a century later, Sound the Trumpet resurfaced during another crucial moment in Sicilian history: the Sicilian Independence Movement (1944-1946). Reimagined under the name Sicily and Liberty, the text was adapted to align with the aspirations of a politically autonomous Sicily. "Suoni la tromba" remains a powerful reminder of the island's historical struggles for freedom, and continues to be performed at cultural and sporting events as an enduring symbol of Sicilian identity.

Below I have reported the two texts of the anthem both in the original language and translated.

In December 1848, the enthusiasm of the sicilians was soon dampened, as Ferdinand II decided to suppress this latest attempt at Sicilian independence by force. As a result of these revolutions, foreign powers moved to isolate the kingdom.

On a national level, attention shifted to Turin, which was inaugurated as the capital of the Kingdom of Sardinia, marking the birth of a kind of constitutional monarchy in Piedmont. It was there that the generation desiring the unification of Italy began to place its hopes. The Kingdom of the Two Sicilies, now isolated, also saw the emigration of some of its ruling classes, who, feeling oppressed, relocated to Piedmont.

In 1859, Francesco II ascended to the throne. His reign had to face, among various difficulties, the Expedition of the Thousand and the delicate constitutional transformation of the kingdom. At that time, the kingdom found itself weakened due to past events and would survive only a little longer, as after the conquest of the majority of the territory by Giuseppe Garibaldi, the last Bourbon forces surrendered to the Piedmontese besiegers. In 1860, the situation in the kingdom was very tense. Much of the Palermitan nobility, as well as the new generations, had sided with the national cause; and enthusiasm for the national cause gradually spread throughout the kingdom. After yet another uprising in Sicily, Garibaldi decided to head to the island to lead the insurrection. Meanwhile, the Bourbon government had learned of Garibaldi's plan and had organized patrols along the Sicilian coasts. However, the two Savoyard ships managed to dock at the port of Marsala and disembark, while the Bourbon ships arrived at the port of Marsala only after the disembarkation had already occurred, and they could only make a belated and ineffective attempt. In the following days, the king tried to intervene by sending trusted generals, but while some did not feel up to taking on the task, others proved to be inadequate and, in fact, allowed another city to fall to the Piedmontese: Palermo. 

After the unexpected success of the Sicilian conquest, uprisings also began in the rest of the kingdom, led by numerous liberals and the bourgeoisie, who, still dissatisfied with the current government, sided in favor of unification. The Kingdom of the Two Sicilies formally ceased to exist with the election of the new Italian parliament in 1861.

Despite what was said earlier, "Madreterra" is the official anthem of the Sicilian Region and the first officially adopted regional anthem in Italy. An anthem that was composed from scratch by Sicilian musician Vincenzo Spampinato, and created as a result of Article 35 of Regional Law No. 21 of Dec. 10, 2001, which required the composition of an official regional anthem by a Sicilian composer who had been registered with the SIAE for at least 10 years. The anthem was first performed publicly on June 14, 2003 at the Teatro Antico in Taormina by the Sicilian Symphony Orchestra and the Musa 2000 Choir. Written in Italian, "Madreterra" evokes a deep connection to Sicily's cultural and natural heritage, celebrating the island as a timeless land of beauty, history and divine presence. Through its poetic text, the hymn portrays Sicily as a radiant and eternal homeland, a place where past and present merge in a unique and unchanging light. 

However, this hymn appears to be first in the sicilian history, and it seems to want to conceal the discontent that led people to sing such a text in 1944. This hymn written from scratch exalts aesthetic beauties that any tourist visiting the island appreciates, but it distracts from the deep identity of the Sicilian people, a people who have that struggled to obtain their public identity. However, Madrettera, in contrasts to Suoni la tromba, demonstrates how certain remain relevant yet are often “silenced.”

This brief historical overview is intended to set the stage for a deeper exploration of the music of Southern Italy. The events outlined here—the revolutions, foreign influences, and linguistic diversity—have all contributed to shaping the unique musical traditions of this region. As we move forward, we will delve into the specific ways in which music became a vehicle for expressing identity, resistance, and the complex history of Southern Italy.