{"product_id":"era-fascista-vol-3","title":"Era fascista, Vol. 3","description":"\u003cp\u003eEra fascista, Vol. 3 preserves twelve supplied titles bringing together military references, family-address songs, youth institutions, colonial celebration and the title Lili Marlene. Historical context distinguishes older wartime traditions from Fascist propaganda and later repression. Neither the album label nor recognizable titles authenticate a particular work or performance.\u003c\/p\u003e\n\u003cp\u003e12 MP3 access files • 256 kbps • stereo • approximately 32 minutes 41 seconds.\u003c\/p\u003e\n\u003ch2\u003eYour download\u003c\/h2\u003e\n\u003cp\u003eA 12-track MP3 access edition has been prepared from the supplied WAV files. The source WAVs are 44.1 kHz, stereo, 16-bit PCM. All 12 source files and full-length MP3 derivatives passed complete technical decoding checks; the source files remain unchanged.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDigital download · USD 9.99.\u003c\/strong\u003e Recording identification and rights review remain open for all 12 tracks.\u003c\/p\u003e\n\u003cp\u003eThe original source sequence and supplied track wording are preserved; exact source filenames remain in the provenance. Durations are measured from the source WAVs and rounded to the nearest second. The English historical notes are written context and are not part of the audio. Listening previews contain up to 25 seconds of source audio, or the complete source when it is shorter.\u003c\/p\u003e\n\u003cp\u003eDownload archive: Era-Fascista-Vol-3-MP3.zip (62,669,334 bytes). It contains 12 full-length MP3 files and Recording-notes.txt. The complete MP3 ZIP is included with this digital download.\u003c\/p\u003e\n\u003ch2\u003eTrack listing\u003c\/h2\u003e\n\u003col\u003e\n\u003cli data-source-filename=\"01 Inno dei fascisti.wav\"\u003eInno dei fascisti \u003cspan\u003e(2:48)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli data-source-filename=\"02 Italia bella.wav\"\u003eItalia bella \u003cspan\u003e(3:12)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli data-source-filename=\"03 Canzone dei sommergibilisti.wav\"\u003eCanzone dei sommergibilisti \u003cspan\u003e(2:22)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli data-source-filename=\"04 Canto degli arditi.wav\"\u003eCanto degli arditi \u003cspan\u003e(1:48)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli data-source-filename=\"05 Caro papà.wav\"\u003eCaro papà \u003cspan\u003e(3:00)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli data-source-filename=\"06 La canzone di Maria Uva.wav\"\u003eLa canzone di Maria Uva \u003cspan\u003e(2:56)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli data-source-filename=\"07 Lili Marlene.wav\"\u003eLili Marlene \u003cspan\u003e(3:30)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli data-source-filename=\"08 Inno dei giovani universitari.wav\"\u003eInno dei giovani universitari \u003cspan\u003e(2:56)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli data-source-filename=\"09 Inno della x flottiglia mas.wav\"\u003eInno della x flottiglia mas \u003cspan\u003e(3:11)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli data-source-filename=\"10 Saluto al duce.wav\"\u003eSaluto al duce \u003cspan\u003e(1:56)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli data-source-filename=\"11 Combattenti a noi.wav\"\u003eCombattenti a noi \u003cspan\u003e(3:11)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli data-source-filename=\"12 Impero (the deum).wav\"\u003eImpero (the deum) \u003cspan\u003e(1:51)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch2\u003eMusic in its historical setting\u003c\/h2\u003e\n\u003ch3\u003eArditi and the appropriation of wartime imagery\u003c\/h3\u003e\n\u003cp\u003eThe arditi assault formations originated during the First World War. The Italian cultural-heritage catalogue describes their 1917 development and the later appropriation of their imagery of violence and heroic death by Fascism. A title invoking arditi therefore requires separate investigation of the military institution, the particular song and its later political uses. The supplied Canto degli arditi does not establish a First World War recording or the political affiliation of its performers. \u003ca href=\"https:\/\/catalogo.cultura.gov.it\/approfondimento\/programma-500-giovani-cultura\/gli-alpini-e-grande-guerra\"\u003eMinistero della Cultura \/ ICCD: Gli alpini e la Grande Guerra\u003c\/a\u003e.\u003c\/p\u003e\n\u003ch3\u003eFamily feeling in organized war propaganda\u003c\/h3\u003e\n\u003cp\u003eREDIRE connects Caro papà to the wartime-song campaign promoted by the Ministry of Popular Culture and EIAR, intensified in summer 1942 through radio, print, scores and records. Its separately catalogued Cetra DC 4004 gives Tito Manlio and Gino Filippini as work credits. A family-address title could participate in morale-building propaganda, but those credits, that campaign date and the comparison record’s performers are not verified facts about this WAV. \u003ca href=\"https:\/\/redire.uni-bonn.de\/items\/demo_0653.html\"\u003eUniversität Bonn, REDIRE: Caro papà, demo_0653\u003c\/a\u003e.\u003c\/p\u003e\n\u003ch3\u003eColonial celebration and the violence it obscured\u003c\/h3\u003e\n\u003cp\u003eREDIRE places La Canzone di Maria Uva in the Ethiopian-war propaganda repertoire, including narratives presenting colonial conquest as liberation and racist depictions of colonized people. Its Frati–Olivieri record is a comparison only. The closing Impero (the deum) has a possible Impero (Te Deum) title lead in a library-held contents excerpt, without proving a liturgical text or language. The ICRC’s documentation of attacks on medical facilities during the invasion provides a necessary account of the violence behind imperial celebration. \u003ca href=\"https:\/\/redire.uni-bonn.de\/items\/demo_0174.html\"\u003eUniversität Bonn, REDIRE: La Canzone di Maria Uva, demo_0174\u003c\/a\u003e; \u003ca href=\"https:\/\/www.gbv.de\/dms\/casalini\/02\/02380080.pdf\"\u003eGBV-hosted contents excerpt: section Goliardie sul Negus\u003c\/a\u003e; \u003ca href=\"https:\/\/blogs.icrc.org\/cross-files\/the-cross-in-the-crosshairs-a-photographic-record-of-the-bombing-of-red-cross-field-hospitals-during-the-second-italo-ethiopian-war\/\"\u003eICRC Archives: The cross in the crosshairs\u003c\/a\u003e.\u003c\/p\u003e\n\u003ch3\u003eLili Marleen across opposing armies\u003c\/h3\u003e\n\u003cp\u003eThe Haus der Geschichte traces Lili Marleen’s popularity on both sides of the Second World War, its many translations and its subsequent adaptations and propaganda rewritings. Its presence in a compilation labelled Era fascista does not make every version a Fascist party song. Lili Marlene is retained exactly as supplied; the performer, language, arrangement and relationship to any familiar recording are still unknown. \u003ca href=\"https:\/\/www.hdg.de\/haus-der-geschichte\/ausstellungen\/lili-marleen-ein-schlager-macht-geschichte\/\"\u003eHaus der Geschichte: Lili Marleen. Ein Schlager macht Geschichte\u003c\/a\u003e.\u003c\/p\u003e\n\u003ch3\u003eYouth organizations and the leader cult\u003c\/h3\u003e\n\u003cp\u003eUniversity songs and salutes to Mussolini belonged to distinct institutional settings. The University of Trieste documents GUF participation in the racist campaign of 1938 and the expulsion of Jewish teachers and students. REDIRE’s separate Saluto al Duce ! record concerns the Balilla youth organization and political and military training. These contexts help examine indoctrination without merging GUF and Balilla repertories, or treating either catalogue record as the identified performance in this folder. \u003ca href=\"https:\/\/www.openstarts.units.it\/bitstream\/10077\/36483\/3\/Futuro-della-consocenza.pdf\"\u003eUniversità degli Studi di Trieste: Il futuro della conoscenza, historical section by Tullia Catalan and Lorenzo Ielen\u003c\/a\u003e; \u003ca href=\"https:\/\/redire.uni-bonn.de\/items\/demo_1535.html\"\u003eUniversität Bonn, REDIRE: Saluto al Duce ! (Inno ufficiale dei Balilla), demo_1535\u003c\/a\u003e.\u003c\/p\u003e\n\u003ch3\u003eDistinguishing naval war from the later X MAS\u003c\/h3\u003e\n\u003cp\u003eThe navy dates the adoption of the name X Flottiglia MAS to 15 March 1941. Research into the later name must also confront the X MAS associated with Fascist repression after the armistice: the ANPI–INSMLI Atlas lists it among the units responsible at Borgo Ticino on 13 August 1944, where twelve civilians were killed and homes burned and looted. The title alone cannot tell which organizational phase, song version or recording is represented. \u003ca href=\"https:\/\/www.marina.difesa.it\/il-tuo-futuro-e-il-mare\/formazione-in-marina\/formazione_specialistica\/ilgoi\/storia\/Pagine\/default.aspx\"\u003eMarina Militare: Storia, Gruppo Operativo Incursori\u003c\/a\u003e; \u003ca href=\"https:\/\/www.straginazifasciste.it\/?id_strage=2615\u0026amp;page_id=38\u0026amp;lang=en\"\u003eAtlante delle stragi naziste e fasciste in Italia: BORGO TICINO, 13.08.1944, Valerio Pulga\u003c\/a\u003e.\u003c\/p\u003e\n\u003cdetails\u003e\u003csummary\u003eRecording research and provenance\u003c\/summary\u003e\n\u003cp\u003eOriginal carriers, labels, matrix numbers, recording dates and transfer histories remain unverified.\u003c\/p\u003e\n\u003cp\u003ePerformers, ensembles, arrangements, recording dates, original labels, catalogue and matrix numbers, original carrier medium, transfer history, audible language and vocal or instrumental content remain unverified. Work-level history and edition dates do not authenticate a recording.\u003c\/p\u003e\n\u003ch3\u003eDisplay spelling and source provenance\u003c\/h3\u003e\n\u003cp\u003eThe supplied wording remains unchanged, including Lili Marlene, Inno della x flottiglia mas and Impero (the deum). Lili Marleen and Impero (Te Deum) remain comparison-title candidates only. The possible Inno dei fascisti \/ All’armi work-title alias does not identify a recording. No silent correction, title expansion or lyric substitution has been made.\u003c\/p\u003e\n\u003ch3\u003eTrack-by-track recording and rights notes\u003c\/h3\u003e\n\u003cp\u003eEvery supplied track remains in its original position. The issues below remain open even though the files passed technical decoding checks; successful decoding does not authenticate a performance or establish permission to distribute it.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eTrack 1: Inno dei fascisti\u003c\/strong\u003e. A later official register uses this composite title, supporting a possible alias relationship to “Il Duce Avanti” track 3 All Armi. Both work equivalence and audio equivalence remain unverified. \u003ca href=\"https:\/\/biblioteche.cultura.gov.it\/it\/documenti\/Servizio_III\/E.C._1973_I_trim..pdf\"\u003eMinistero della Cultura: Errata corrige al Bollettino dell’Ufficio della Proprietà Letteraria Artistica e Scientifica, gennaio–marzo 1973\u003c\/a\u003e. \u003cstrong\u003eRecording identification and rights review remain open.\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTrack 2: Italia bella\u003c\/strong\u003e. Italia bella is a broad title; no precise work, colonial setting, composer or recording assigned. \u003cstrong\u003eRecording identification and rights review remain open.\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTrack 3: Canzone dei sommergibilisti\u003c\/strong\u003e. A submarine-service reference does not identify the specific composition, naval unit, performers or war period. \u003cstrong\u003eRecording identification and rights review remain open.\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTrack 4: Canto degli arditi\u003c\/strong\u003e. A title lead occurs in the separate later-release register; it does not identify a 1917 performance or establish the performers’ affiliation. \u003ca href=\"https:\/\/catalogo.cultura.gov.it\/approfondimento\/programma-500-giovani-cultura\/gli-alpini-e-grande-guerra\"\u003eMinistero della Cultura \/ ICCD: Gli alpini e la Grande Guerra\u003c\/a\u003e; \u003ca href=\"https:\/\/biblioteche.cultura.gov.it\/it\/documenti\/Servizio_III\/E.C._1973_I_trim..pdf\"\u003eMinistero della Cultura: Errata corrige al Bollettino dell’Ufficio della Proprietà Letteraria Artistica e Scientifica, gennaio–marzo 1973\u003c\/a\u003e. \u003cstrong\u003eRecording identification and rights review remain open.\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTrack 5: Caro papà\u003c\/strong\u003e. Cetra DC 4004 is a separate catalogued 1942 issue; its work and performance credits are not adopted for this file. \u003ca href=\"https:\/\/redire.uni-bonn.de\/items\/demo_0653.html\"\u003eUniversität Bonn, REDIRE: Caro papà, demo_0653\u003c\/a\u003e. \u003cstrong\u003eRecording identification and rights review remain open.\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTrack 6: La canzone di Maria Uva\u003c\/strong\u003e. Separate La Voce del Padrone HN 1291 issue, catalogued 1937; no transfer or performance match established. \u003ca href=\"https:\/\/redire.uni-bonn.de\/items\/demo_0174.html\"\u003eUniversität Bonn, REDIRE: La Canzone di Maria Uva, demo_0174\u003c\/a\u003e. \u003cstrong\u003eRecording identification and rights review remain open.\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTrack 7: Lili Marlene\u003c\/strong\u003e. Spelling-normalized comparison only. Do not assign Lale Andersen, Marlene Dietrich, an Italian adaptation or any audible language. \u003ca href=\"https:\/\/www.hdg.de\/haus-der-geschichte\/ausstellungen\/lili-marleen-ein-schlager-macht-geschichte\/\"\u003eHaus der Geschichte: Lili Marleen. Ein Schlager macht Geschichte\u003c\/a\u003e. \u003cstrong\u003eRecording identification and rights review remain open.\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTrack 8: Inno dei giovani universitari\u003c\/strong\u003e. Possible expanded work-title lead in the separate later-release register; GUF context does not identify a singer or authorize merging with Giovinezza. \u003ca href=\"https:\/\/biblioteche.cultura.gov.it\/it\/documenti\/Servizio_III\/E.C._1973_I_trim..pdf\"\u003eMinistero della Cultura: Errata corrige al Bollettino dell’Ufficio della Proprietà Letteraria Artistica e Scientifica, gennaio–marzo 1973\u003c\/a\u003e; \u003ca href=\"https:\/\/www.openstarts.units.it\/bitstream\/10077\/36483\/3\/Futuro-della-consocenza.pdf\"\u003eUniversità degli Studi di Trieste: Il futuro della conoscenza, historical section by Tullia Catalan and Lorenzo Ielen\u003c\/a\u003e. \u003cstrong\u003eRecording identification and rights review remain open.\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTrack 9: Inno della x flottiglia mas\u003c\/strong\u003e. The filename does not distinguish the Regia Marina formation from later RSI-associated X MAS usage or date the song\/version. \u003ca href=\"https:\/\/www.marina.difesa.it\/il-tuo-futuro-e-il-mare\/formazione-in-marina\/formazione_specialistica\/ilgoi\/storia\/Pagine\/default.aspx\"\u003eMarina Militare: Storia, Gruppo Operativo Incursori\u003c\/a\u003e; \u003ca href=\"https:\/\/www.straginazifasciste.it\/?id_strage=2615\u0026amp;page_id=38\u0026amp;lang=en\"\u003eAtlante delle stragi naziste e fasciste in Italia: BORGO TICINO, 13.08.1944, Valerio Pulga\u003c\/a\u003e. \u003cstrong\u003eRecording identification and rights review remain open.\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTrack 10: Saluto al duce\u003c\/strong\u003e. One comparison title among potentially different salutes; the separate Excelsius MA 7896 issue is not authenticated as this recording. \u003ca href=\"https:\/\/redire.uni-bonn.de\/items\/demo_1535.html\"\u003eUniversität Bonn, REDIRE: Saluto al Duce ! (Inno ufficiale dei Balilla), demo_1535\u003c\/a\u003e. \u003cstrong\u003eRecording identification and rights review remain open.\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTrack 11: Combattenti a noi\u003c\/strong\u003e. Combattenti a noi is retained; no authoritative composition, issuing body or performance match established. \u003cstrong\u003eRecording identification and rights review remain open.\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTrack 12: Impero (the deum)\u003c\/strong\u003e. Possible correction from the deum to Te Deum, kept separate. No Latin language, ecclesiastical setting, composer, issue date or liturgical performance is inferred. \u003ca href=\"https:\/\/www.gbv.de\/dms\/casalini\/02\/02380080.pdf\"\u003eGBV-hosted contents excerpt: section Goliardie sul Negus\u003c\/a\u003e. \u003cstrong\u003eRecording identification and rights review remain open.\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eComparison leads and limits\u003c\/h3\u003e\n\u003cp\u003eNo exact complete decoded-audio match involving this album was found in the available verified comparison set. This negative exact-match check does not prove that the performances are unique or distinct from other recordings.\u003c\/p\u003e\n\u003cp\u003eThese title or topic leads could not be fully compared because at least one source was outside the available verified set: “Il Duce Avanti” track 3, All Armi \/ “Era fascista, Vol. 3” track 1, Inno dei fascisti. Their audio relationship remains untested, and no equivalence or distinct-performance finding is assigned.\u003c\/p\u003e\n\u003cp\u003eThe technical comparison uses SHA-256 of the complete decoded audio converted only for comparison to signed 16-bit little-endian PCM at 44.1 kHz in stereo. A matching title, similar duration or later compilation sequence alone cannot establish recording identity. Source-file or decoded-audio hash inequality is not proof of a different historical performance.\u003c\/p\u003e\n\u003cp\u003eA later Fonotil commercial compilation listing has the same twelve-title order and wording: \u003ca href=\"https:\/\/music.amazon.com\/albums\/B073VB988D\"\u003eAmazon Music: Era fascista, Vol. 3 (Canti ed inni originali del ventennio)\u003c\/a\u003e. This is a research lead only. Its release date, durations, collective artist name and rights assertions are not assigned to these files. The concordance does not establish an original source, transfer history, recording identity, ownership, copying, infringement or permission to distribute.\u003c\/p\u003e\n\u003cp\u003eRecording identity and distribution rights remain under review. All supplied tracks remain subject to recording identification and rights review. No public-domain, royalty-free or redistribution permission is asserted; the price does not establish distribution rights.\u003c\/p\u003e\n\u003cp\u003eFurther review must address each work, text version, arrangement and particular recording, including publication evidence and permission in the intended territories. Content restrictions also require separate review. No legal clearance is inferred from age, ownership of a physical record, educational framing or a catalogue match.\u003c\/p\u003e\n\u003cp\u003ePresented for critical historical study of music, propaganda, militarization and the cultures surrounding dictatorship. No endorsement of Nazi or fascist ideology is intended. No lyrics or lyric translations are reproduced.\u003c\/p\u003e\n\u003c\/details\u003e\n","brand":"History in Sound","offers":[{"title":"Default Title","offer_id":53708444467489,"sku":"HIS-CD440-ALBUM","price":9.99,"currency_code":"USD","in_stock":true}],"url":"https:\/\/nadeltonrecordings.com\/products\/era-fascista-vol-3","provider":"Nadelton Recordings","version":"1.0","type":"link"}