In this research, I have explored the Kingdom of the Two Sicilies and the 19th century from a harpistic perspective, with the aim of presenting this program in a concert. The concept of travel and the train guided the entire work, as the ultimate goal was not just academic research but its concrete realization through performance.
The first step was to understand and analyze the historical period, the sentiments of the people, and the most significant events of the time. This allowed for a better contextualization of the Sicilian Vespers, a crucial event in which the Sicilian people demonstrated their strength, developing for the first time a sense of identity and unity. The presence of the first prototype of the Sicilian flag is tangible proof of this. In this context, I analyzed "I Vespri Siciliani" by Carlo Munier, a rhapsody inspired by Verdi’s opera, delving into the process of study and interpretative experimentation, validating each artistic choice with concrete reasoning.
The next stop takes us to Naples, the capital of the Kingdom. After a historical-musical introduction, the focus shifted to the harp during that period. Through my research, it was possible to rediscover the genealogy of the first Italian harp schools, also through Ruta’s book. In the concert, Naples is represented by the works of Giovanni Caramiello, a Neapolitan harpist who contributed to bringing popular themes from the countryside into aristocratic salons. I selected some of his pieces, including "Rimembranze di Napoli" and "La Palumella", which demonstrate how popular themes were treated by composers of the time and how music could resonate with all social classes, from aristocracy to peasants. "La Forza del Destino" concludes the Neapolitan section, showcasing the variety of salon repertoire of the time, , where classical and popular music mixed together, creating a new trend.
From Naples, the journey continues to Palermo, the second most important city of the Kingdom, characterized by a certain competitiveness with the capital but with an equally rich musical life. The harp arrived in Palermo later than in Naples but developed its own school. Francesco Bellotta, a Sicilian harpist trained in Naples, returned to Palermo, marking a fundamental milestone for the instrument in the city. The selection of Bellotta’s pieces was based on an extensive repertoire, but "Fiori di Primavera" and "Il Trovatore" are particularly significant: the former, a fantasy on a Neapolitan folk theme, creates a direct connection with Caramiello’s style"; the latter, a fantasy on a Verdi opera, once again illustrates the coexistence of popular and classical music. Bellotta’s interpretation was also analyzed through recordings by Emanuela Battigelli, offering a comparative perspective useful for validating artistic choices and an alternative to the main vision.
Gino Marinuzzi is the last composer examined. Belonging to a slightly later period, his "Suite Siciliana" introduces a new theme in the echo of the people: the Sicilian emigrant. This theme, still central to the people of southern Italy today, had not been highlighted by previous composers. I transcribed "Valzer Campestre," the third movement of the suite, analyzing the artistic choices and their final result, with the goal to bring on harp with my interpretation.
The research concludes with "Sikelia", a project that took over a year to take shape and has opened the door to new collaborations. Cooperation with the Palermo department was essential, allowing me to work with composers who experience the history being told firsthand and demonstrating how research and tradition can generate musical innovation.
Main Findings and Reflections
The main discoveries of this research concern the richness of the southern Italian harp school, still undervalued today, even in conservatories.
Another significant discovery was the connection between popular and classical music within the harp repertoire, as well as the rediscovery of some scores by Francesco Bellotta, which remain rarely performed today.
Additionally, this research has revealed how all these composers, previously considered isolated (Caramiello, Bellotta, Marinuzzi, Munier), are linked by a broader historical narrative, enabling the creation of a concert that is not just a sequence of pieces but a true narrative performance. A journey that the musician does not dominate but interprets, serving as a conduit for the echo of a people.
The concert’s performance at the Archaeological Park confirmed the validity of this research, thanks to the positive feedback from the audience. The most significant comment received was: "I thought it would be boring, but I never lost interest." This demonstrates that the concert was able to engage even those who were not initially interested and that the proposed musical journey succeeded in creating a bond between performer and listener. The performance in Sicily held a special significance: not only was it understood, but it was deeply felt by an audience that, like me, inherits that music, those sentiments, and those melodies.
Implications and Future Developments
This research provides a solid foundation for anyone looking to build a concert with the same objectives or deepen their understanding of the sentiment and musical culture of southern Italy.
In the short term, I intend to expand my repertoire by including Francesco Paolo Frontini, a Sicilian pianist who has contributed greatly to Sicilian music but is unfortunately rarely performed today. Other composers I will focus on include Riccardo Ruta, incorporating not only his historical writings but also his compositions. I will also continue to explore Bellotta, Caramiello, and the composers of the Neapolitan harp school.
Another goal is to spread this research not only through concerts, like the one already performed on December 28, 2024, but also through masterclasses. I will also bring this knowledge with me during my lessons, as this research has helped me rediscover studies and technical exercises created by the analyzed composers.
I therefore consider this research not as a definitive conclusion but as the first step in a much broader project.
I conclude with a quote from Francesco Paolo Frontini, a Sicilian pianist, which has been a source of inspiration and guidance throughout my journey, especially for the Sikelia's project:
"We must make the true, great soul of our land fully known. The greatest responsibility for this mission lies with us musicians, because only in music and song can we Sicilians fully express our true emotions. Remember that."1