Il coro parrocchiale
The choir that sang on Sunday at the "Granda Mass" is a habit. Feel the "Ven Creator" the first of the year or the "Stabat Mater" to the procession of the vote, or the "Jesus Redemtor" at Christmas, and still the "Ist Confessor" to S. Leonardo and the "free" of Perossi On the day of the saints or for some funeral, everything is to us for us. But how long has it passed and how many people spent evenings and sleep why these songs became tradition of country?
We have climbed over the years away to seek news and history of our choir, even if history and secure news no one has worried about leaving it. We then entrusted ourselves to the memory of our over -theptiant and over the age of overflows as well as facts and circumstances handed down verbally and a few nods in rare books.
Memory of man cannot tell us about the origins of the choir in the village. We know, however, that a priest, certainly Don Angeli, left a legacy of one hundred florins for the organ in church, which was developed in 1804 by the manufacturer Innocent Cavazzani. The event is to be connected logically with the existence of a group of choristers at the time. Other news is not there for the whole of the century.
Towards the end of the 19th century we know that the choir was formed by male voices (virile voices, it is said), local people, peasants for the most part, who sang the Gregorian masses in church and every Sunday the Vespers. Yes on Sunday the Vespers were sung and each singer had its anti -theft at the bottom of the psalm. Indeed, someone still remembers a cantor who with his voice as a deep bass inton the last of the five psalms: in Exitu Israel de AegyPto, Dominus Jacob de Populo Barbaro and underlined the latest notes of the "barbarian", almost to mean the contempt for Those people (the Egyptian), who was not at all at all, but only of different religion.
They were people to good our singers, who certainly did not know about music: they sang with ear and with good will praise to the Lord. The reward came for them on fat Thursday in the rectory with the traditional "Cantori meal". The word "meal" explains more the anxiety of waiting, since the content of the lunch was made of common food, always that: polenta and sauerkraut with the addition of cotechino, Lucanica and bacon; All watered by a lot of wine. And for the end of the century, with the hunger that was around, it cannot be objected that the "menu" was poor. In this regard, it is said of a singer (G.L.), whose wife was occupied in Nenzig (Voralberg), who, at the end of the fat week, used to return home. For the man, the concomitance of the social lunch with the arrival of the bride was an important fact, so much so that he went around informing: "Dobia Lè Pasato and Sabo Gen La Frau" (this was his wife). At the time he was parish priest Don Angelo Martinelli (in the village since 1893), who, assisted by the sacristan young Demons, at half past five in the morning, even in winter, celebrated Mass. When needed, two singers in turn recited the office of the deceased with him. Not every morning, because, despite the little compensation required, people did not even have the necessary cents for the office. The church was freezing; In batteries, holy water froze until March. The two singers came out of the church intested, but each with some money in the pocket as a compensation had by the parish priest for the service and that money immediately ended up in the Milanese shop or the master for a glass of brandy or absinthe. Capocoro at the end of the 19th century was Luigi Brusamlin (1838 - 1894), tragically expert in the farm in full while, at the mouth he recovered tree trunks conveyed on the valley via water. In addition to the leader Leonardo Brendolise (called Tisi), Luigi Riccabona, (fallen in war), Angelo Lorenzin, Giovanni Lorenzin (Caligaroto), Lorenzo Franzoi (Soela), Giuseppe Brusamolin (brother of the leader and Don Antonio) were, , Luigi Denicolò (Stela), Leonardo Smartzaro, Giovanni Longo (Titon), Francesco Androllo (Fanzelon), Luigi Bombasaro (Tabio), Luigi Demonte (Momi), Antonio Wolf (Tonele), Bernardo Demonte (Ciarelo), Giovanni Carlin (Neo ). Elia Coradello (1819 - 184) or Enricetta, wife of the mayor Federico Maccani, was at the organ, to which the Rivazzale road is dedicated The choir that sang at the "Great Mass" on Sunday is a habit. Hear the "Veni Creator" on the first of the year or the "Stabat Mater" at the procession of the Vow, or the "Jesus Redemtor" at Christmas, and again the "Iste Confessor" to St. Leonardo and the "Libera" by Perossi on saints' day or for some funeral, everything is customary for us. But how much time has passed and how many people have spent evenings and sleep to make these songs become a village tradition?
We went back in the distant years to look for news and history of our choir, even if history and safe news no one bothered to leave. We then relied on the memory of our over 80s and 90s as well as facts and circumstances handed down verbally and a few hints in rare books.
Memory of a man cannot tell us about the origins of the choir in the village. However, we know that a priest, certainly Don Angeli, left a legacy of one hundred florins for the organ in the church, which was developed in 1804 by the builder Innocenzo Cavazzani. The event is logically connected with the existence at the time of a group of choristers. There is no other news for the whole of the century.
Towards the end of the 19th century we know that the choir was made up of only male voices (virile voices, it is said), local people, mostly peasants, who sang Gregorian masses in church and vespers every Sunday. Yes, on Sunday vespers were sung and each cantor had his antiphon at the end of the psalm. Indeed, someone still remembers a cantor who with his deep bass voice intoned the last of the five psalms: In exitu Israel de Aegypto, dominus Jacob de populo barbaro and underlined the last notes of the "barbarian", as if to signify contempt for that people (the Egyptian), which barbarian, then, was not at all, but only of a different religion.
Our singers were good-natured people, who certainly didn't know about music: they sang praises to the Lord by ear and with good will. The reward came for them on Shrove Thursday in the rectory with the traditional "cantori's meal". The word "meal" explains more the anxiety of waiting, since the contents of the lunch were made of common food, always the same: polenta and sauerkraut with the addition of cotechino, lucanica and pancetta; all washed down with a lot of wine. And by the end of the century, with the hunger that was around, it cannot be objected that the "menu" was poor. In this regard, it is said of a cantor (G.L.), whose wife was employed in Nenzig (Voralberg), who, at the end of the fat week, used to return home. For the man, the concomitance of the social lunch with the arrival of the bride shortly thereafter was an important fact, so much so that he went around informing: "Dobia lè pasato and sabo gen la Frau" (this was the wife). At the time, Don Angelo Martinelli was parish priest (in town since 1893), who, assisted by the sacristan Giovani Demonte, celebrated Mass at half past five in the morning, even in winter. When needed, two singers in turn recited the office of the dead with him. Not every morning, because, despite the little compensation required, people did not even have the cents needed for the office. The church was freezing cold; in the piles the holy water froze until March. The two singers left the church numb, but each with some money in his pocket as compensation received by the parish priest for the service and that money immediately ended up in the shop of the Menega or the Maestro for a glass of brandy or absinthe. Head of the 19th century was Luigi Brusamlin (1838 - 1894), who tragically perished in the Maso in flood while, at the mouth, he was recovering tree trunks conveyed downstream by water. Members of the choir were, in addition to the head master Leonardo Brendolise (called Tisi), Luigi Riccabona, (fallen in the war), Angelo Lorenzin, Giovanni Lorenzin (Caligaroto), Lorenzo Franzoi (Soela), Giuseppe Brusamolin (brother of the head master and Don Antonio) , Luigi Denicolò (Stela), Leonardo Smarzaro, Giovanni Longo (Titon), Francesco Andriollo (Fanzelon), Luigi Bombasaro (Tabio), Luigi Demonte (Momi), Antonio Wolf (Tonele), Bernardo Demonte (Cianelo), Giovanni Carlin (Neo ). The organ was Elia Coradello (1819 - 184) or Enricetta, wife of the mayor Federico Maccani, to whom the Rivazzale road is dedicated.
In the early 1980s, Angelo Androllo (called Rosso) was led to the head of the choir, who directed the executions almost to death, which occurred in 1924. The organ, at the time, was placed above the entrance door and the 'Air was compressed in the rods by a hand operated by hand. In those years, a village was a priest and wise master in the main episcopal seminary of Trento. He was called Don Antonio Bruamolin (1837-1904); An oil picture on canvas remains of him in the seminary. Thanks to him, the first figured masses (i.e. multi voices) came to the country, such as the third, the sixth, the eighteenth of Michael Haller, as well as Ignathius Mitterer, both German authors. To them must be added and other hymns always brought to the village by Don Antonio. Unfortunately, the First World War destroyed the organ, scores and music cards. On the occasion of funeral, the singers were present with the "Miserere" of Berara, a highlight of the choir performed even later until the 1950s and then forgotten. At the end of this period, the entry of the new parish priest, Don Battista Malfatti, in 1911, should be remembered. Shortly after the First World War he recalled most of the singers on the battle fronts. For those left there was the sad experience of the refugee in May 1916. And the choir no longer spoke until 1920. In Serajevo, on June 28, 1914, Archduke Francesco Ferdinando was assassinated: the empire of Austria invaded Serbia and there was a world war. In town for young people (and not young people) conscripted, immediately transferred to Galicia, on the Russian front. Already at the end of 1914 in Castelnuovo they were mourning in addition to twenty fallen. The church thronged with people in distress to beg the Lord to put an end to this disaster; for its part the choir, although reduced to a few elements and gathered around Angelo Andriollo (father of Aldo, current cantor), accompanied the prayers of the assembly. A year later, the Italian army broke through the Primolano border, following the declaration of war by Italy against Austria: the drone front was soon established on the course of the Maso stream and the griefs of the previous months were joined by bombings in valley from the Austrian forts of Panarotta and Pizzo di Levico. There were houses destroyed by bombs, other recruitments of very young people and adults (even 52 years old).In a country emptied of more vigorous arms, church services were reduced to a minimum and at night; even the bells did not ring, because the Austrians had removed them to make cannons. A year passed, May 1916 came, when the militia went to the courts to give the order to leave the country shortly for destination unknown. We are used to seeing in films the exit of Moses from Egypt as a flight of ragged people towards the shore of the Red Sea. Something similar must have been that long line of men and wagons towards Bassano and then beyond to other cities and towns. The dispersion lasted three years: many due to an epidemic of Spanish fever, or old age, and, even more, due to nostalgia, did not return. At the end of the conflict, the price paid by the country for the war was 36 dead, 71 dead refugees, as well as widows and orphans. Among the singers should be remembered: Luigi Riccabona, killed at the front, and 3 other singers: Leonardo Brendolise, Giuseppe Brusamolin, Leonardo Smarzaro, buried in distant cemeteries. The veterans no longer found the town, but butts of houses: Castelnuovo destroyed, set on fire, robbed of what was left. All with the joy of having won the war: the victory bulletin spoke clearly ... But in the village there were many who never wanted to accept the idea of ??having changed masters. Angelo Andriollo did his best to immediately recompose the choir with elements of the old guard and others with an appreciable quality for singing.
The new choir was made up of the brothers Abramo, Adolfo and Gino Montibeller (in 1924 he will be the new head master), his cousin Giovanni Montibeller, Leopoldo and Angelo Denicolò with their father Luigi, Bruno Coradello, Ermanno Brendolise, Eugenio Brusamolin and Leonardo Andriollo .
In a country emptied of more vigorous arms, church services were reduced to a minimum and at night; even the bells did not ring, because the Austrians had removed them to make cannons. A year passed, May 1916 came, when the militia went to the courts to give the order to leave the country shortly for destination unknown. We are used to seeing in films the exit of Moses from Egypt as a flight of ragged people towards the shore of the Red Sea. Something similar must have been that long line of men and wagons towards Bassano and then beyond to other cities and towns. The dispersion lasted three years: many due to an epidemic of Spanish fever, or old age, and, even more, due to nostalgia, did not return. At the end of the conflict, the price paid by the country for the war was 36 dead, 71 dead refugees, as well as widows and orphans. Among the singers should be remembered: Luigi Riccabona, killed at the front, and 3 other singers: Leonardo Brendolise, Giuseppe Brusamolin, Leonardo Smarzaro, buried in distant cemeteries. The veterans no longer found the town, but butts of houses: Castelnuovo destroyed, set on fire, robbed of what was left. All with the joy of having won the war: the victory bulletin spoke clearly ... But in the village there were many who never wanted to accept the idea of ??having changed masters. Angelo Andriollo did his best to immediately recompose the choir with elements of the old guard and others with an appreciable quality for singing.
The new choir was made up of the brothers Abramo, Adolfo and Gino Montibeller (in 1924 he will be the new head master), his cousin Giovanni Montibeller, Leopoldo and Angelo Denicolò with their father Luigi, Bruno Coradello, Ermanno Brendolise, Eugenio Brusamolin and Leonardo Andriollo. During the war period, a military warehouse and a shelter for horses had been made of the church. On their return, they nudged to restore decorum to the place of prayer, change the broken tiles, close the windows with metal sheets and even with maize canes, since the paper was nowhere to be found. The organ had been lost, but in this church, which had been refurbished as best as possible, the celebration of Mass was resumed. This was said by Don G. Battista Malfatti, pastor since the 11th, who also happened to be interned by the Austrians in Katzenau and to undergo the trial of a military court for a series of accusations of anti-Austrian activity. A bad chapter in the history of the country. On his return, Don Malfatti was of great help to the families for the settlement of war damages. He also became an attentive supporter of the choir: an expert in music, he taught new melodies. We owe the credit to him if we hear the sweet airs of "Placida Notte" at Christmas. Don Malftti wrote this song from memory recalling Gruber's famous "Silent Night", which, perhaps, was not famous at the time. Meanwhile, the choir was expanding its musical heritage: the Beltiens, Grassi, Mitterrer and Radanello were added to don Antonio Brusamolin's masses..
1922 was a year of great shocks in Italy, but to a more modest extent, it was also the same for the country. In fact, after 104 years of esteemed services, the Demonte family (the monegos) resigned as sacristan; Leonardo Andriollo, known as Nardeto, took over the task, also destined to become a characteristic figure and master of ceremonies in the church. On 20 July 1922 the new bells arrived, solemnly blessed on 1 October. In those months, to speed up the restoration of the church, the functions were celebrated in the municipal hall (current gymnasium). There Confirmation was administered by the Bishop, Mons. Endric, to a large group of boys and girls, even mature in height and age, yet not yet confirmed due to the long war.
Once the church was restored to its ancient decoration, the traditional processions of Good Friday, of San Marco, and others resumed. Almost all of the town was gathered at the processions and the most handsome men felt flattered in holding the two heavy banners of red damask silk with the figures of St. Leonard and St. Margaret, in addition to the triangular cloth, bright red too, of Most holy. It was during the procession of the Vow of '33 that the bearer of a banner, Giovanni Venzo, a man of praiseworthy zeal, was struck ill: transported to a nearby house, he died there shortly after. Obviously the group of cantors was assiduous to liturgical ceremonies with suitable songs: the Vexilla Regis for Good Friday, the litanies for the major (St. Mark's) and minor (through the countryside) rogations, the Pange lingua and the Sacris solemniis on the day. of Corpus Domini. Indeed, for this occasion, the Tantum ergo was performed on each capital in five different versions. In Santa Margherita, in July, the litanies of the Madonna were sung along the path to conclude at the entrance to the church with the invocation: "Santa Margherita ora pro nobis". Here the song was an explosion of voice and a shiver of emotion seized those people in prayer. In the last processions of the year the Stabat Mater was used for the feast of the Vow in the version of Giovanni della Croce (performed for the first time in 1587 in Piazza San Marco and Venice) and the litanies of the Madonna on Rosary Sunday, on the aria by various authors, including local composers (Gino Montibeller and Bruno Coradello). Following the destruction of the organ due to war events, in June 1923 Don Malfatti bought a harmonium from the Galvan company for 1,200 lire. Maestro Lenzi from Roncegno played. The following year - it was 1924 - Angelo Andriollo died, the leader of the reconstruction, who for twenty years had directed the group of choristers, giving them the desire to sing even in the anguish of war. Precisely at his funeral, for the first time he directed Gino Montibeller (the postman, 1902-1966) who, at the funeral of his predecessor, was thus baptized as a new teacher.
Gino Montibeller and Bruno Coradello had studied music and singing technique with Rigo dal Borgo, master of the local band; at his school two choristers had also applied themselves to the use of instruments such as the mandolin and the guitar; Bruno played the violin and the organ. In the meantime, the choir expanded the musical patrimony: at the Mass "granda" they sang the epistle in Latin, in the afternoons they accompanied Vespers. The group was made up of twelve members by the express wish of Don Malfatti who wanted to represent the twelve Apostles in the choir members. Gino, postman by profession and chief master by vocation, was refining himself in the art of directing: his passion for music led him to sulfate even on the street when he distributed the mail. In singing rehearsals he was a demanding teacher: he asked for correct diction of Latin from singers who willingly left some ending too many on the way; he wanted respect for the time as per the score and his saying was memorable: "The quarters if he drinks and no if the magna".
In those years, always thin, the singers also calculated the small fee that came from the funeral; the same thing was true for the "ceregoti", including myself. But with the passage of time, the choir also opened up to profane singing; he learned songs for happy circumstances, such as "Il giorno" for spouses, "Salve pastor" for new Masses, "Giorni so placidi" par i and serenades. Strengthened by this "worldly" heritage, one winter evening (it was January 17) the choristers wanted to keep company, on the occasion of the name day, to their fellow countryman Don Antonio Coradello, a priest in Spera and later archpriest in Strigno. Deep in the darkness, on foot and braving the frost, the company arranged themselves under Don Antonio's windows and raised their harmonious serenade to the stars. What did the meek Don Antonio do? I listen, then he opened the door and offered a drink. The choir drank. The choir drank. It was then a question of returning home by descending the icy stairs that lead from Valentine's Day to Scurelle. Gino Montibeller, in that hour of intimate meditation, thought of delivering the inseparable mandolin with stronger arms and entrusted himself to Genio Brusamolin, big and powerful bass. And here is that the Brusamolin, suddenly fell on his legs, for reasons still unclear, while the precious mandolin slipped between breeches and the ground, so that the thunderous fall of the human mass became soft. Between Gino's consternation and the laughter of the others, Genius got to his feet: under him was a pile of sticks and a handful of cords. Arriving late at night in the square of Scurelle, the remains of the mandolin were placed on the bare ground and around the choir sang Musch's "Libera me, Domine". Then the mandolin was entrusted to the pitiful waters of the nearby canal. Things happened, which do not relate for the record. While the choir allowed itself some performances on the road, Don Malfatti began the extension works of the parish church. In 1931 the facade was demolished to lengthen the nave by a few meters with stones brought from the Maso with horses and oxen. The front was rebuilt the same, in Romanesque style, embellished with a central rose window depicting the Good Shepherd. Inside, two chapels dedicated to s. Antonio and s. Teresa; the stonemason, Angelo Carraro da Villa (Bocaleto) worked on the preparation of the holy water stoups, drawn in the village on a cart with two cows and it took the push of boys to help the animals so that the piles arrived at the door of the church. Many villagers were applied to the carpentry work with "pioveghi" and so also for the reconstruction of the roof with "beaver" type tiles. From the excavations carried out for the occasion, numerous human remains came to light, confirming the custom in the past of burying the dead near the church. In the meantime, the choir extends the musical heritage: en la Misa "granda" sings the epistola in Latin, por las tardes acompañaban las Vísperas. El grupo quedó integrad por doce integrantes por deseo expreso of Don Malfatti quien quiso represent a los doce apóstoles en los integrantes of the choir. Gino, cartero de profesión y maestro mayor por vocación, se fue perfeccionando en el arte de dirigir: su pasión di lui por la música llevó a sulfatar hasta en la calle when he repartía el correo. En los ensayos de canto he was an exigent teacher: he pedía la correcta dicción del Latin a los cantores que de buena gana dejaban algún final de más en el camino; lui quería respeto a la época como a la score y fue memorable su dicho di lui: "Los cuartos si bebe y no si la magna".
En aquellos años, siempre flacos, los cantores también calculaban la pequeña cuota que venía del funeral; lo mismo ocurría with los "ceregoti", incluyéndome a mí. But with el paso del tiempo, el chorus también se abrió to profane song; aprendió cantos para circunstancias felices, as "The day" para los esposos, "Salve pastor" para las Misas nuevas, "Days so placidi" par i y serenatas. Fortalecidos por esta herencia "mundana", a tarde de invierno (it was el 17 de enero) los coristas quisieron acompañar, with motif of the onomástico, to his compatriot Don Antonio Coradello, priest in Spera y más tarde arcipreste en Strigno. En lo profundo de la oscuridad, a pie y desafiando las heladas, la compañía se acomodó bajo las ventanas de Don Antonio y elevó a las estrellas on harmonious serenade. Qué hizo el manso Don Antonio? Escuché, luego abrí la puerta y ofrecí a tragus. El coro bebió. El coro bebió. Se trataba entonces de volver a casa bajando las escaleras heladas que conducen desde el Día de San Valentín hasta Scurelle. Gino Montibeller, in his own time of meditation, thought about the inseparable mandolin with brazos más fuertes y se commendó to Genio Brusamolin, bajo grande y poteroso. Y he aquí que el Brusamolín, suddenly cayó sobre sus piernas, por razones aún no aclaradas, mientras la preciosa mandolin se deslizaba entre los calzones y el suelo, de modo que la estruendosa caída de la masa humana se hizo suave. Entre la consternación de Gino y las risas de los demás, Genius if puso de pie: debajo of him había a montón de palos y un puñado de cuerdas. Al llegar tarde en la noche in the plaza de Scurelle, the restos de la mandolina se colocaron en el suelo desnudo y alrededor of the choir sang "Libera me, Domine" de Musch. Entonces la mandolin fue confiada a las lastimosas aguas del canal look for. Sucedieron cosas, que no se relacionan para el registry. While the choir permits algunas actuaciones in the chimney, Don Malfatti initiates the obras of expansion of the parroquial church. In 1931 se demolió la fachada para alargar unos metros the ship with piedras traídas del Masó with caballos y bueyes. La fachada fue reconstruida igual, en estilo románico, adornada with a central rosette representing the Buen Pastor. En el interior, dos capillas dedicadas al s. Antonio and S. teresa; el albañil, Angelo Carraro da Villa (Bocaleto) trabajaba en la preparación de las pilas de agua bendita, tiradas en el pueblo en un carro con dos vacas y necesitó el empuje de los muchachos para ayudar a los animales para que las pilas llegaran a la puerta de la Iglesia. Muchos aldeanos se aplicaron al trabajo de carpintería with "pioveghi" y también para la reconstrucción del techo with tejas like "castor". De las excavaciones realizadas para la ocasión salieron a la luz numerosos restos humanos que confirman la antigua costumbre de enterrar a los muertos cerca de la iglesia..
To conclude, one last note. The choir boasts a centuries-old history and perhaps more. But, in addition to the years, it has the merit of having preserved and developed for us a heritage of music otherwise never known in the country. The choir therefore created culture, and true popular culture, despite the limitations, the poverty of means and knowledge of its members. The choir was also a sign of faith and certainly contributed with the solemnity of the ceremonies and the spontaneous singing to confirm the sense of the sacred and of the presence of God that is within us all.
What about then? Best wishes and on for many more years.
Carmino Epiboli
Voci Amiche, Apr - Ago 1982
The Parish Choir between news and history
Going forward with this story there would still be many things to say but to be sure of dates and events it would take a memorandum, but this is not there and then we must rely on memory and therefore I will write what I remember. At the end of the 1940-45 war, the choir was reconstituted with young elements and old singers. Unfortunately, especially the young people, when they had learned something they went away for work so there were still few of us left.
In spite of this, the Choir always remained united and always sang the Mass on Sundays and solemn holidays such as Christmas, Easter, St. Leonard, St. Margaret and others and always kept high traditions such as, for example, weddings in which the choir is almost always invited to sing to make the ceremony more festive or to funerals to give a worthy burial to the dead. On this occasion the choir has never failed. Returning to mass, it is quite another to participate when the Choir sings and guides the prayer of the faithful who join their voice to the more frank and more powerful one of those who are preparing to do a service to the community with singing.
Our Choir is a very old institution and none of us remember how many years and precisely for this reason we have to try to keep it up, but to do this we need new recruits and that is the youth who want to commit themselves and who love the Chorus and be present in any case. Returning to our history and this is the history of fifty years ago, it must be said that various leaders took turns, the last one is Maurizio Andriollo who has been conducting the choir with commitment and competence for several years. Organist, as you all know, is Albino Brendolise. For several years he too has dedicated himself with passion, skill and competence to the success of music and songs. In terms of organists it was necessary to remember Carlo Brusamolin who died still young in 1989; also the missing singers, Remo Trentinaglia and recently Fulvio Coradello. With this I currently end the history of the parish choir of Castelnuovo which in recent years has been called the Concordia Choir, which is a whole program. So I appeal again to young people of good will and with a beautiful voice that what we have done, over time, they can do too.
If there is someone who has clearer or more comprehensive information on the history of the Choir, please come forward that we can write something more.
Carmino Epiboli
Don Malfatti, pastor, and parish choir, in 1928.
Left to right, standing: Adolfo Montibeller, Antoni Wolf, Leopoldo Denicolò, Ermann Brendolise, Eugenio Brusamolin, Giovani Montibeller, Abramo Montibeller. Seated: Bruno Coradello, Gino Montibeller, don Malfatti, Luigi Denicolò. Manca Angelo Denicolò, militare.
On the left, the first banner carried by Giovanni Venzo.
The choir on a trip to Lavarone in 1951. Six singers are still present; eight died; the others have abandoned and, in part, have been replaced.
The choir with Don Giuseppe Smaniotto, the new parish priest.
Sunday in Albis 1956. The choir with Don Giuseppe Smaniotto, the new parish priest
September 1956, Lavarone: Parish choir tour.
Front: Albino Bizzotto, Giorgio Brendolise, Bruno Stevanin, Franco Dalceggio,?, Angelo Stevanin.
Behind: Luigi (Gigioti) Coradello, Carlo Brendolise, Carlo Brusamolin, Fulvio Coradello, Bepi Bizzotto, Giancarlo Venzo, Bizzotto, Eugenio , Renato Smarzaro, Gino Coradello, Antonio Bizzotto, Gino Lorenzin, Aldo Andriollo, Mario Venzo, Don Smaniotto.
Trip to Venice of the choir.
1956, The choir on the occasion of the arrival of Don Giuseppe Smaniotto. From left.: Gino Lorenzin (Puina), Bruno Stevanin, Giorgio Brusamolin, Toni Bizzotto, Albino Bizzotto, Aldo Andriollo, Luigi Coradello, Genio (Eugenio) Brusamolin, Mario Bizzotto, ?. behind: Franco Dalceggio, Arturo Bombasaro, Bepi , ?, ?, Rino (tabio) Bombasaro, Bepi Lorenzin, Giovanni Lorenzin.
Front: Don Giuseppe Smaniotto, Antonio Bizzotto, Carlo Brusamolin, Albino Bizzotto, Lugi Coradello, Lugino Coradello, ?, Bruno Stevanin, Aldo Andriollo, Mario Venzo, Gino Lorenzin, Genio Brusamolin.
behind: Carlo Brendolise, Beppi Bizzotto, Fulvio Coradello, Renato Smarzaro, ?, Guido Bizzotto, Angelo Stevanin.
Much of the parish choir, around 1973.
First row at the bottom, from left:
Albino Coradello, Giovanni Perozzo, Albino Brendolise, capo coro Camillo Brusamolin, figli di Bruno Stevanin, Maurizio Lorenzin.
Second row: Ruggero Lorenzin, Stefano Simonetto, Mauro Lorenzin, Tiziana Coradello, Paolo Lorenzin.
Third row: Angelo Stevanin, Remo Trentinaglia, Maurizio Andriollo, don Mario Toniatti, Sergio Bombasaro, Giovanni Lorenzin, Carlo Brusamolin, Giorgio Brendolise, Antonio Bizzotto, Bruno Stevanin.
Voci Amiche may 1994
Parish choir at the entrance of Don Mario Toniatti.
First row at the top, from left.:
Giovanni Lorenzin, Bruno Denicolò, Gino Coradello, Albino ..., Renato Smarzaro, Camillo Brendolise.
Bizzotto ..., Carlo Brendolise , Aldo Andriollo, Angelo Demonte, Angelo Stevanin, Fulvio Coredello, ?, don Mario Toniatti, Maurizio Andriollo, Gigi Coradello, Franco Dalceggio, Antonio Bizzotto, Paolo Lorenzin, Graziano Bizzotto, Mauro Lorenzin, Tiziana Coradello, Saulo Guazzi, Bruno Coradello, Giancarlo Bizzotto, ?.
Feast of the Vow, the centenary 1886-1986
Voci Amiche lug 1973. Choir at the entrance of Don Giovanni.
Pupils of the choir
