There are countless ways Sicilians have touched, inspired, and vivified American culture, one of which is through music.
I recently discovered the introspective yet energizing works of Chicago-based composer and pianist Maria Rago, who hails from the small Sicilian town of Santa Caterina Villarmosa in the province of Caltanissetta. Atmospheric and even otherworldly, the title track of her latest album, Red Land, blends electric guitar thrashing with symphonic sounds. Like so much of her music, it defies genre constraints with vibrancy and texture drawn from her Sicilian heritage.
"My Sicilian roots have significantly influenced my identity as a pianist and composer," says Maria. "The way I perceive the world—its sounds, colors, the contrasting shadows of tragedy and beauty, the allure of history, the relentless sun, and the vibrant spirit of the Sicilian people—shapes my artistic vision. Being an islander allows me to create an 'island' of sound, a smaller haven within a broader context."
Maria took time out to share her music inspiration, creative process, favorite composition, future projects, advice for musicians, and what she hopes listeners take away.
What inspired you to pursue a music career?
Music has always been central to my life, but it wasn't until I turned 24 that I transitioned from being a listener to becoming a musician, ultimately deciding to dedicate my life to music. It happened during a cello concert when I found myself immersed in the notes of "Suite No.2 in D Minor" of J.S. Bach. Amid those vibrations and melodies, I realized this was the world I longed to be a part of—a realm of infinite possibilities where I knew I was a unique piece of that puzzle. When you write or perform, you expose your inner self; it feels as if you are recounting your own story through another's voice, sharing, rediscovering, and sometimes concealing the experiences that shape you, all through the medium of music.
Who are some of your biggest musical influences?
In my musical journey, the music of J.S. Bach and his infinite being, the earthly conception that meets the universal—the divine that is revealed among his compositions—has a fundamental role. There is a sacredness that runs through his work, a human logic that transforms into a spiritual path, a path that leads you elsewhere. The divine manifesting itself in man. This path impacted my compositions not in the stylistic sense but in the spiritual sense.
I also admire Ludwig van Beethoven and his human testament, a project around man and where man dares, challenges, chooses, free from every chain. The divine manifesting itself in nature. Here are two composers who approach, through music, the concept of life differently.
Can you tell us more about Red Land?
The album Red Land emerged from the desire to blend two musical languages: classical orchestration and the electrifying sound of the guitar, masterfully played by Martin Szorad, among other amazing musicians. This album paints the world in hues of red, reflecting a tumultuous environment filled with conflicts and strife—a world where life is hard to come by, yet death is all too easy. Red Land embarks on a journey through such a reality, with the electric guitar serving as a poetic explorer seeking the lingering beauty within.
Do you have a favorite piece you've composed, and what makes it special?
Typically, after completing a piece, I try to distance myself from it. When I revisit it later, I often feel as if it no longer belongs to me; it becomes a "free creature with its own life," one that I no longer recognize, a "being" detached from its "creator." However, there is a piece titled "Lullaby on the Sea," composed just as I was leaving Sicily—a farewell to my homeland, where I felt that "creature," which is me, started to separate from its origin: Sicily.
What upcoming projects or performances are you most excited about?
I recently composed soundtracks for two projects: one called The Rebellious River with Studio Dance Arts New York, aimed at supporting young talent in the Bronx, and another, called Two Hands, with the organization Unity Freedom Power in collaboration with an English production, using hands as a symbol of either unity or destruction depending on one's decisions. I'm particularly excited about a new theater project exploring the lives of remarkable women throughout history, guided by the exceptional mediator Leonardo da Vinci.
What advice would you give emerging musicians?
Being a musician is a privilege that demands love, dedication, and relentless practice. My advice for emerging musicians is to cultivate the ability to listen, remain curious, and not take themselves too seriously. Let the music lead you; ultimately, it's the music that transcends time when everything else fades.
What do you hope listeners take away from your music?
Writing or performing opens you up to vulnerability; you lay yourself bare, taking risks in communicating your intended message, never knowing how an audience will interpret it. My hope is that listeners walk away with an idea, a thought, or a mindset—not always positive, but rather a perspective that prompts reflection. Indifference is the greatest enemy, and it's what art, music, and humanity simply cannot afford.
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