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Umbertide in the twentieth century (edited by Simona Bellucci) Umbertide yes opens the new century with an economy and a society that is not particularly dynamic, but not as static as it might seem at first sight. In fact, there are changes in the agricultural sector, the largely prevalent one, thanks to the introduction of tobacco, forage plants and mechanization. However, the agricultural system remains within the framework of the sharecropping contract, a contract seen as the peacemaker par excellence. For the rest, furnaces are the main economic activity not linked to agriculture. Piazza Matteotti 1905 In politics, the old liberal ruling class prevails, but from 1909 the Democrat-Republican Francesco Andreani won the elections and remained in power until 1919. Meanwhile, in 1915 World War I broke out, to whom Umbertide pays a very high price for a life, with as many as 268 dead at the front. War memorial: 1926 The immediate postwar period presents itself as a period full of tensions due to the economic crisis and consequent social conflicts. The peasant struggles resume, for the improvement of the sharecropping contract that had already characterized the Upper Tiber Valley at the beginning of the twentieth century and, among the political innovations, there is the victory in the municipal elections of the socialists in 1920, as had already happened to those policies the previous year. However, in 1921 the socialist administration, overwhelmed by a financial scandal, resigned. Meanwhile, even in Umbertide the fascist squadism rages, a starting from this period, hitting several left-wing politicians, some of whom took refuge in France, first of all the socialist Giuseppe Guardabassi. After the affirmation of fascism, the municipality is managed by an after all moderate mayor like Gualtiero Guardabassi, for the whole twenty years. He resigned in 1943 and was replaced by the prefectural commissioner Luigi Ramaccioni. In this time lapse, considerable changes take place in the economic life of the city, with two new production realities born in 1926 and 1927, namely the tobacco and ceramics factory, which mainly employ female labor. For the rest, as we know, the opposition is reduced to the margins. New early 20th century school building The Second World War hit Umbertide deeply, with 93 dead on the war fronts and the 70 victims of the aerial bombardment that destroyed Borgo S. Giovanni, as well as the victims for reprisals and others for various reasons. They remember, above all, the massacres of Serra Partucci and Penetola, where 5 and 12 civilians were killed respectively. The Umbertidese community reacted to the Nazi-Fascist occupation by participating in the Resistance with various partisan formations, the most important of which is the San Faustino Brigade and the Cremona and Legnano Combat Groups, where two Umbertidesi Quirino Pucci and Giuseppe Rosati in the first e Giuseppe Starnini in the second. Learn this period through memory with " Aristide and the twenty years ", " Lamberto and the Resistance ", " The voices of memory" and the bombing of 25 April 1944. The bombing will hit the parish priest's house next to the "Collegiate" which will not be rebuilt. The transition to democratic life registered a high adhesion to the republic in the referendum of 1946 and the victory of the communist and socialist left, who ruled at an administrative level until 2018, when for the first time the Municipality was conquered by the center-right. The first mayor of Umbertide was Astorre Bellarosa and, later, in the fifties Serafino Faloci, Umberto Cavalaglio in the sixties, Celestino Sonaglia in the seventies. Following this, Maurizio Rosi and Gianfranco Becchetti held the position until 2013 and Giampiero Giulietti. Meanwhile, after the war the economy changed rapidly with the sharecropping crisis and the consequent flight of farmers from the countryside. This determines very consistent migratory currents towards other regions. It was only in the sixties that the birth of the textile and mechanical industry constituted a brake on emigration. Meanwhile, the urban center was growing rapidly and, becoming a more complex reality, Umbertide also recorded a rapid growth in associations: AVIS, Teatro dei Riuniti, Basket Club Fratta and others. Since the eighties the textile industry has gone through a crisis which in the following years leads to the prevalence of the mechanical and metalworking industry. The period 1960-1990 it is crossed by a dynamic trade union movement that gives rise to numerous demands, especially in conjunction with the company crises. All this, however, in a context in which the Communist Party remains firmly in power, holding an absolute majority in the local government, in which there is almost always a coalition government with the socialists. Since the nineties, during the second republic, the political framework changes again, the Communist Party which has been transformed into the Democratic Party of the Left and then since 1998 into the Democrats of the Left, together with its allies keep winning the election and maintain hegemony over the common. Umbertide 2005 from Monteacuto Sources: - Simona Bellucci: Umbertide in the 20th century 1943-2000, Nuova Prhomos, 2018. - Photo: Francesco Deplanu - Photo: historical photos of Umbertide from the web and from various private archives to which we applied the " umbertidestoria " watermark in this way we try to avoid that the further disclosure on our part favors purposes not consonant with our intentions exclusively social and cultural. Help us remember umbertidestoria@gmail.com

Architettura rurale nell'Alta Valle del Tevere - Boldrini Fratta (ora Umbertide) dal 1796 al 1814 - Giovannoni La Rocca di Umbertide centro espositivo per l'arte contemporanea- Pannacci Umbertide dall'Unità d'Italia alla caduta della destra storica (1860-1876) - Rondini Lo sviluppo locale del Comune di Umbertide - Simonetti Museo Mercato Città di Umbertide- Restauro e riuso di un'area ferroviaria dismessa - Venturelli Thesis In this section you will find some degree thesis in history, geography, art history, architecture or in any case centered on the Umbertidese and neighboring territory. The research works, in part or complete, are kindly granted by the authors. The lyrics they appear as they were made at the time of the thesis defense and have not been revised. The works are visible by clicking on the relative image but are not downloadable either printable. However, we believe that creating a space to make individual studies made so far visible can help the development of historical and social interest in our country and our environment. Thanks at the moment in chronological order: Anna Maria Boldrini with her work on the rural architecture of the area, Daniela Giovannoni for the work of her sister Cesarina Giovannoni on the Fratta from 1796 to 1814, Valentina Pannacci on the Rocca di Umbertite and its use for contemporary art, Diego Simonetti who took care of the development of our municipality from agricultural to industrial, Alessandro Venturelli who attempted to develop a project for the eventual reuse of an abandoned railway area. Their theses can be reached from the vertical menu below (version for desktop and tablet). Architettura rurale nell'Alta Valle del Tevere - Boldrini Fratta (ora Umbertide) dal 1796 al 1814 - Giovannoni La Rocca di Umbertide centro espositivo per l'arte contemporanea- Pannacci La committenza di Luca Signorelli in Umbria - Ricci Vitiani Umbertide dall'Unità d'Italia alla caduta della destra storica (1860-1876) - Rondini Lo sviluppo locale del Comune di Umbertide - Simonetti Testimonianze artistiche medievali ... Valdambrini Museo Mercato Città di Umbertide- Restauro e riuso di un'area ferroviaria dismessa - Venturelli "Rural architecture in the upper Tiber Valley: Umbertide in the 16th century" by Anna Maria Boldrini Academic year 1990-91 University of Perugia "Events of an Umbrian village in the French age. Fratta (now Umbertide) from 1796 to 1814" by Cesarina Giovannoni Academic year 1968-69 University of Perugia "Introduction and Chapter 1" extracted from "La Rocca di Umbertide exhibition center for contemporary art" by Valentina Pannacci Academic year 2005-2006 University of Perugia "Umbertide dall'Unità d'Italia alla caduta della destra storica (1860-1876)" di Gioia Rondini Anno Accademico 1979-80 Università degli Studi di Perugia "Local development of the Municipality of Umbertide" by Diego Simonetti academic year University of Perugia taken from “City Market Museum of Umbertide. Restoration and reuse of an abandoned railway area " by Alessandro Venturelli academic year 2012/13 School of Architecture University of Florence NB: The work is a study on the possible reuse of the railway workshops with internal technical tables when the disposal was thought: - Complete historical table where the historical vicissitudes of the structure are reconstructed with the expansion over time of the Mechanical Workshops. - extract from the table SURVEY OF THE STRUCTURE SECTIONS CURRENT - extract from the table URBAN ANALYSIS AND FLOWS CONNECTION - CON PLANIVOLUMETRIC Help us remember umbertidestoria@gmail.com La committenza di Luca Signorelli in Umbria - Ricci Vitiani “LA COMMITTENZA DI LUCA SIGNORELLI IN UMBRIA: NUOVE INDAGINI E RICERCHE” di Valentina Ricci Vitiani, Anno Accademico 200 2-03 (estratto pp. 1-6: "Premessa" e pp. 179-196: "Deposizione della Croce di Umbertide" ) Università degli Studi di Perugia taken from “City Market Museum of Umbertide. Restoration and reuse of an abandoned railway area " by Alessandro Venturelli academic year 2012/13 School of Architecture University of Florence NB: The work is a study on the possible reuse of the railway workshops with internal technical tables when the disposal was thought: - Complete historical table where the historical vicissitudes of the structure are reconstructed with the expansion over time of the Mechanical Workshops. - extract from the table SURVEY OF THE STRUCTURE SECTIONS CURRENT - extract from the table URBAN ANALYSIS AND FLOWS CONNECTION - CON PLANIVOLUMETRIC Testimonianze artistiche medievali ... Valdambrini

Soria di Fratta, poi Umbertide nell'Ottocento. The nineteenth century Ottocento e Risorgimento Il "Governo della Fratta" del 1843 dello Zuccagni Orlandini Ottocento e Risorgimento Il "Governo della Fratta" del 1843 dello Zuccagni Orlandini Nineteenth century and Risorgimento (edited by Simona Bellucci and Francesco Deplanu) From the end of the Roman Republic (29 September 1799) the provisional military administrations followed one another until the recovery in June 1800 of the territories of Lazio, Umbria and Marche. With the edict of the Secretary of State Consalvi of 22 June 1800, the state territory was reorganized and 7 apostolic delegations were established with a delegate residing in the capital (Viterbo, Spoleto, Perugia, Camerino, Macerata, Ancona and Urbino); the suburban provinces of Civitavecchia, Campagna and Marittima (with the capital Frosinone), Sabina (with the capital Rieti) were also established. The papal restoration of 1799 marks a momentary halt to the spread of liberal and democratic ideas that manifest themselves during the revolutionary experience of the Roman Republic. The papal state is, however, very weak and is again occupied by Napoleon from 1808 until 1814. The Marches are united to the Kingdom of Italy while in 1809, the Papal State is suppressed, Umbria and Lazio are annexed to the Napoleonic Empire with a territorial articulation in two departments of the Tiber (or of Rome) and Trasimeno, in turn divided into districts (arrondissements) and cantons, the smallest of the state districts. Italy in the Napoleonic era (1810) from wikipedia. The user who originally uploaded the file was Eltharion from Italian Wikipedia licensed under CC BY-SA 3.0 : https://it.wikipedia.org/wiki/Stati_italiani_nell%27era_napoleonica#/media/File:Italia_1810.jpg The Trasimeno Department included the arrondissements of Spoleto, Perugia, Todi, Foligno. The administration of each department was entrusted to a prefect, a prefecture general secretary and a department general council. Each district (arrondissement-province) was administered by a sub-prefect. Within the individual cantons, the communes were administered by the maire (mayor), and by a municipal council. The maires remained in office for 5 years and were chosen from among the municipal councilors, who were in turn chosen from among the 100 major contributors. Municipalities with a budget of more than 20,000 francs had to keep a municipal receiver, and in 1804 a tax collector in connection with the arrondissement receiver and the department's general receiver. Thus, on July 13, 1809, Fratta returns to Canton, "... with a justice of the peace, Griffier Uscieri, ... and Domenico Bruni maire di Fratta. The coats of arms were replaced by an" added "and ten municipal councilors. With the bulletin of the Supreme Council of State no. 123 of November 23, 1810, confirmed by imperial decree January 3, 1812 inserted in the bulletin of laws at no. 416, Fratta was declared the chief town of the Canton with an increase in the territory formed by other fractions; a court was established under the title of Giudicatura di pace, "which it was subject to various municipalities, castles and villages "and, in addition, the civil status office was established." When the Napoleonic experience ended in 1814, the power of the State of the Church was restored. After the papal Restoration, Bartolomeo Borghi, archpriest to S.Andrea di Sorbello, excellent cartographer of the Municipality, he is arrested and convicted for having highlighted himself as a pro-French revolutionary. The pontifical institutions were restored but the innovations in the administrative field that had brought the Napoleonic period were also seen in central Italy. The State of the Church gave life to the creation of that document, born for tax purposes but which has become a very important historical source that the " Gregorian Cadastre ": a geometric-particle cadastre with the "brogliardi" to trace the properties, and qualities, of the both rural and urban properties. The land of Fratta was also registered . Also with a "motu proprio" of July 6, 1816, Fratta did not turn out more capital of government but simple "municipality", administered from Perugia by means of a mayor. It became again the municipality of residence of the governors in 1817. The new statistics of 1833 confirmed Fratta as the capital of the second class government: at the head of this district there was a governor with competence to judge up to two hundred scudi, and included the municipalities of Fratta, Montone and Pietralunga. Post of the State Archives of Rome on Facebook with a chorographic map of the "Ecclsesiastico State" where "Fratta" is clearly visible In the post you can read: ... "Pope Pius VII and his Secretary of State, Cardinal Consalvi, with the motu proprio" When by admirable provision "of 1816, initiate a profound reorganization of the administration. The edict of November 26, 1817, "Allotment of the governments and communities of the Papal State with their respective appodiates", sanctions the new political geography: the State, with the exception of the Comarca of Rome, is divided into 17 provinces governed by delegates. Benevento was also included. " ASR, General Presidency of the Census, Archive Register of maps and census papers, 1842-43. At that time, the city center is much smaller than it is today, with only 900-1000 residents, most of whom live in the countryside. The total population is approximately 10,000 inhabitants. Papal dominion expresses a very strong presence of ecclesiastical authority, which also holds the most important civil offices. Not only that, but much of the land is in the hands of the convents and religious orders. The agricultural economy, dominated by the sharecropping system, is poor and stagnant. The papal regime is not particularly brutal, but it keeps everything under control with a very widespread spy network. Fratta, like other centers Umbrian, participates in the uprisings of 1830-31, where Luigi Vibi and Petronio Reggiani distinguished themselves. Also this time the patriots of Fratta and the others failed to achieve lasting results. On the other hand, the riots did not have better results in the other parts of Italy. Freemasonry and Carbonari had been the promoters, animated by the bourgeoisie, enlightened aristocracy and artisan class. In the following period the republican ideas of Mazzini and other moderate ideologues of the Risorgimento spread. In 1848-49, when a new revolutionary outbreak occurs, Fratta participates with 26 volunteers, both enrolled in the papal troops in the first war of independence, and, after the turnaround of Pius IX, as fighters in defense of the Roman Republic. Once again, a failure and consequent papal restoration must be recorded. Shortly after in 1859, 23 people were enrolled in the second war of independence. As many as 31 volunteers in 1866 and 1867, the latter following the proclamation of the Kingdom of Italy, for the conquest of Veneto and Rome still missing. The Risorgimento brought the real change: the 12 September 1860 the Piedmontese soldiers of General Manfredo Fanti entered the town and " ... a provisional government junta was proclaimed with full powers in the persons of Messrs. Costantino Magi Spinetti, Raffaele Santini, Giuseppe Agostini and Luigi Igi. "The decree issued by the Marquis Gualterio, royal commissioner for the provinces of Perugia and Orvieto dates back to 14 September. , with which a provisional municipal commission was set up, whose attributions followed the pontifical ones, pending the enactment of the new municipal law. With decree n. 64 of 21 October 1860, issued by the royal commissioner Pepoli, the plebiscitary referendum was called, for the of the annexation to the Kingdom of Savoy . ". Two years later the Municipality of became Umbertide. The choice of the name with its motivation is complicated and was born after the unification of Italy at the request of the unitary state to avoid administrative "misunderstandings" due to the numerous "Fratta" existing in the Italian territory .... If you can simplify how the choice of the name took place we can say that the men of the time on the one hand tried to connect it to its historical origin with the reference to "Fracta filiorum Uberti", ie Uberto natural son of Ugo king of Italy, who would have founded it in the 10th century; this requirement, however, was welded to a "political" requirement connected to the contemporary historical moment (the Unification of Italy), with the reference of the name of Umbertide to that of the hereditary prince of the House of Savoy. For completeness, we insert an excerpt from the page of the "Siusa" on the history of Umbertide: In the resolution of December 14, 1862, the commissioner Mauro Mavarelli, president of the assembly, announced that the royal prefect, with dispatch of July 10, n. 13341, by assignment received from the Ministry of the Interior, invited the mayor of Fratta to propose to the council in one of its next sessions "the resolution, if not to change the current name of the Municipality, at least to make some addition to it, from to deduce from the specialty of the situation, and this to avoid misunderstandings and embarrassments, as well as to public administrations as well as to private individuals, which derive from the multiplicity of Municipalities that call themselves under the name of Fratta ". The mayor and the council, therefore, were of the opinion to appoint a commission composed of ... " those who considered themselves most informed of the history of the country ". In 1862 the mayor and the municipal council, with provision no. 1591 of 21 September, proceeded with the appointment of the commission, for the above purpose, composed of Costantino Magi Spinetti, Ruggero Burelli and Genesio Perugini, with the task of proposing a new name for Fratta. On the following October the members of the commission, after having listed the old names of Fratta, such as Forum Bremitii, Forum [Iulii] Concubiense, Pitulum, Fracta Filiorum Uberti and, according to Lauri, Fracta insigne Umbertinorum Oppidum, believed that the latter name in particular it was more "representative of current events if it bears a tribute to the sovereign, Umberto or Uberto, hereditary prince of the king of Italy": the proposal of "Umberta" or "Umbertide" was approved with seven votes in favor and one against. On January 25, 1863, due to certain discontent among the population regarding the new name of the Municipality and the fact that the resolution "was taken on second call with a small number of councilors", the Prefecture, with dispatch dated January 15, no. . 574 div. 5 sec. 10, ordered to propose the same object again in a new resolution. The lawyer Costantino Magi Spinetti gave reasons why the council was persuaded to abandon the old name Fratta, as "it recalled its destruction by the barbarians, and the consequent foreign domination, proposing instead to replace Umbertide for Umberta as the most I consented to the tradition, since from the same it appears that it was not Umberto, but his sons, who were the founders of this land ". This proposal was unanimously approved by roll call. " Fratta was governed by a moderate liberal majority for a long period until 1887. After the resignation of the mayor Mauro Mavarelli, in 1889 the Democrats and the republicans obtained the majority for a short period, but in the early nineties the moderate block took over the Municipality, of which Francesco Mavarelli is mayor from 1892 to 1898. The problems of Umbertide after the Unification, but also before, were those that gripped the country. The agricultural economy was stagnant, illiteracy widespread, infectious diseases caused many deaths. Communications and industry languished. At the end of the century there were progresses in the field of literacy, with the foundation of numerous rural schools and also in the health one, with the birth of a new modern hospital in 1878 as well as hygienic rehabilitation interventions, however, the agricultural economy, based on sharecropping, is unable to provide work for a growing population. In fact, especially in the 1980s, strong migratory currents began to appear. Umbertide 1892 Sources: - Simona Bellucci, " The incomplete modernization. Umbertide peasants and owners between the nineteenth and twentieth centuries ". Edimond, Città di Castello 2004. - SIUSA (Unified Information System for Archival Superintendencies) on Umbertide http://siusa.archivi.beniculturali.it/cgi-bin/pagina.pl?TipoPag=prodente&Chiave=50311&RicProgetto=reg-umb&fbclid=IwAR2ydRABe1Uw3MxVbj3WkZrexe4eu0lBSPZe_991_1LwwGoww - http://siusa.archivi.beniculturali.it/cgi-bin/pagina.pl?TipoPag=profist&Chiave=84&RicProgetto=reg%2dumb - http://siusa.archivi.beniculturali.it/cgi-bin/pagina.pl?TipoPag=comparc&Chiave=330615&RicProgetto=reg%2dumb - E. Gerardi, "Institutional features and documentation in the French period and in the Restoration", in the Archival Superintendency for Lazio, "The municipal historical archives. Archival lessons", Quaderni dell Rivista storico del Lazio, 1 (1998), pp. 37-52. - Photo: historical photos of Umbertide from the web and from various private archives to which we applied the " umbertidestoria " watermark in this way we try to avoid that further disclosure on our part favors purposes that are not consonant with our intentions, social and cultural exclusivities. The Fratta of 1843 by Zuccagni Orlandini (Curated by Francesco Deplanu) "The conspicuous village of FRATTA, in ancient Fracta, lies on the left bank of the Tiber which crosses there over a bridge, raised not far from its confluence with the Roggio ..." In the pre-unification period Attilio Zuccagni-Orlandini, Florentine geographer and cartographer, edited a "Physical, Historical and Statistical Chorography of Italy and its Islands accompanied by an Atlas, geographic and topographic maps" of 19 volumes and a large atlas in 5 volumes . In the X volume of 1843, he dealt with the PONTIFICAL STATE with two "Supplements". In one of these here we find the description of the DELEGATION OF PERUGIA, with the "District" of Città di Castello where the GOVERNMENT OF FRATTA is also described, which also included the "Municipalities of Montone and Pietralunga. Our "capital" was divided at the time with its 18 hamlets and 3 "Appodiati" (Civitella Ranieri, Poggio Manente and Preggio), in turn with 10 total fractions. This text is a notable document for its geographical, but also political and administrative indications before the religious alienations that occurred with the Kingdom of Italy, for the rest of the information, which we report completely below, the description of the origins of the city is completely affected by the "historical" knowledge of the time, that is, they are not very accurate and substantially "literary". We also point out the indication of "Raggio" for the Reggia or Regghia torrent. A similar judgment could also be said about the information on the most important Abbey in the area, that is of S. Salvatore di Montecorona and Eremo Superiore, were it not for the state of the organization of the Camaldolese system reported here. Organizational system that disappeared within twenty years with the dictatorial decree of 11 December 1860, n. 205 of the Royal Commissioner General of Umbria Pepoli. As regards the description of the territory of Umbria, Zuccagni-Oralndini reports in full the administrative division of the PONTIFICAL STATE with the DELEGATION OF PERUGIA (with 4 DISTRICTS: Perugia District, Città di Castello District, Foligno District, Todi District). Of limited interest to us is the description of the DISTRICT OF CITTA 'di CASTELLO (with 2 Governments: Città di Castello and Fratta, 4 Municipalities and 176 “Appodiati”). In fact, the GOVERNMENT OF THE FRATTA insists within this last "District". As for the "Government of Fratta", the administrative division in 1843 is as follows: the "Capital", Fratta, with 18 "hamlets" (Castiglion dell'Abbate, Civitella di quà e di là, Leoncini, Migianella de 'Marchesi, Montalto with Cicaleto and Romeggio, Monte Acuto, Monte Castelli, Monte Migiana, Pieve di Migianella, Polgeto, Rasina, S. Cassiano, S. Giovanni di Certaldo, S. Giuliano delle Pignatte, S. Giuliano di Monte Corona, S. Silvestro dell ' Arcelle, Sportacciano, Verna) and 3 "Appodiati": Civitella Ranieri with 2 "hamlets" (S. Giovan Batista di Fratta, S. Giovanni Evangelista di Serra Partazio), Poggio Manente with 3 "hamlets" (Monte Lovesco -in part-, S. Paterniano di Pierantonio , S. Salvadore di M. Cosante -in part-) and Preggio with 6 “hamlets” (Bastia Creti, S. Andrea in Penetole (annex), Monestevole, Racchiusole, S. Bartolomeo dei Fossi, S. Paolo). Fig. 1-2-7: Extracts from the Zaccagni- Orlandini “Physical, Historical and Statistical Chorography of Italy and its Islands accompanied by an Atlas, geographic and topographical maps”. Supplement to volume X, Florence, 1843 Lo Zaccagni - Orlandini after having described Città di Castello at greater length, he dwells on our country and above all on the Hermitage and the Abbey of Montecorona. Below the analysis that refers to Fratta, today Umbertide. GOVERNMENT OF THE FRATTA. “The conspicuous village of FRATTA, in ancient Fracta, lies on the left bank of the Tiber which crosses there over a bridge, raised not far from its confluence with the Roggio. The largest temple, with a round shape, has the title of collegiate; adjacent to two other churches rise the convents of the Conventuali and of the Osservanti, Resta. still standing the tower, within which in 1393 Fortebraccio was enclosed by captain Tuzio, then by Biordo, Michelotti freed. This municipality has a gymnasium for public education, various charitable institutions, and an elegant theater that is modernly open: in the most delightful position of the surroundings the Capuchins have a convent. When some writers of the Etruscan Cortonese Academy are to be believed, near the banks of the Carpino stream, which flows into the Tiber not far from Fratta, there would have been the Forum of Giulio Umbro, Forum Julii Concubiense, with a sacred temple to Vulcano, allusive to the dexterity of the inhabitants in iron work and in handling weapons. Meanwhile, the Umbrian writers believe that Fratta rose on the ruins of the ancient Pitulum, by the care of the children of a certain Uberto, who then enjoyed the lordship: this opinion may perhaps be supported, but it cannot be hidden that Pliny was the Pitulani placed in the Lazio. Pietralunga and Montone are among the towns of this government; in the municipal boundaries of the capital there is Monte Corona, worthy of special mention like them. Fig. 3-4: Extracts from the orographic map and the Roman-medieval historical thematic map, based on the indications of Zuccagni-Orlandini, the names written in Latin characters indicate the localities existing under the dominion of the Romans, in Gothic characters "pointed" the places of the Middle Ages. "Geographic Atlas of the Italian States outlined above the best and most modern maps, to serve as a complement to the physical, historical and statistical chorography of Italy, by Attilio Zuccagni-Orlandini (Florence, 1844). Work in two volumes. From https://phaidra.cab.unipd.it/ distributed under Creative Commons License CC BY-NC-SA 4.0 Monte Corona, by Camaldolensi hermits, is a Cenobio built in an alpine mountain top, which however can be ascended by a not uncomfortable winding path. That sanctuary is surrounded by very high walls, crowned by firs and cypresses. The largest temple corresponds to a square with an inclined plane; a portico and an atrium make access more smooth. The internal walls are richly decorated: the division of the vast monastery is similar to that of any other monastery of the same order: beyond the isolated hermits' boxes, the Foresteria, the Infirmary, the Definitory for the mọnastic comizj are gathered in a single building: in a segregated part called the Reclusorio, the hermits' quarters meet, who dedicate themselves to a more austere life. Fig. 5: Political map of the Pontifical State Delegation of Perugia of 1843 of Zaccagni- Orlandini focused on the “Fratta”. "Geographic Atlas of the Italian States outlined above the best and most modern maps, to serve as a complement to the physical, historical and statistical chorography of Italy, by Attilio Zuccagni-Orlandini (Florence, 1844). Work in two volumes. From https: / /phaidra.cab.unipd.it/ distributed under Creative Commons License CC BY-NC-SA 4.0 The avenues interposed between the detached cells lead to the highest summit, rightly designated with the name of Belvedere, as you can enjoy enchanting scenes from it. Near the boreal aquifer of Monte-Corona stands on the banks of the Tiber the Abbey of S. Salvadore, where the administrative office of the upper Hermitage resides: here the monks live, due to age or inconvenience, no longer able to sustain life lonely. The vast church, of ancient but elegant design, has three magnificent naves with a subterranean confession, and is divided in such a way that its lower part will serve as a parish, and the highest one to the office of the monks. The cloister is grandiose; the Abbadia districts are vast; the gardens and vineyards that surround it are well cultivated. It is said that S. Romualdo had it built four years before the Tuscan Hermitage: in 1050 the government was entrusted to S. Pier Damiani. From the Camaldolensi it passed for some time to the Cistercenşi: it was then made Conmenda: in 1524 the Commendalore Gabbriello da Fano, consecrated to the hermit life, recovered its possession and had it given its current form. On the slope of the mountain above there was a very ancient oratory consecrated to S. Savino: the patrician Beltramo from Perugia donated it in 1209 to the Camaldolensi: three centuries later the Venetian monk B. Paolo Giustiniani deduced a colony of hermits, who built their houses; but their number then grew so that it was forced to build the current Hermitage around 1510. Subsequently that monastery was declared head of the Camaldolense Congregation of Monte-Corona. " Fig. 6: Excerpt from Political Map of the Pontifical State Delegation of Perugia from 1843 of Zaccagni- Orlandini focused on the “Fratta”. "Geographic Atlas of the Italian States outlined above the best and most modern maps, to serve as a complement to the physical, historical and statistical chorography of Italy, by Attilio Zuccagni-Orlandini (Florence, 1844). Work in two volumes. From https: / /phaidra.cab.unipd.it/ distributed under Creative Commons License CC BY-NC-SA 4.0 Sources: -Attilio Zuccagni-Orlandini edited a "Physical, Historical and Statistical Chorography of Italy and its Islands accompanied by an Atlas, geographic and topographical maps". Supplement to volume X, Florence, 1843. -Delegation map of Perugia from vol. 2 ° of "Geographic Atlas of the Italian States outlined above the best and most modern maps, to serve as a complement to the physical, historical and statistical chorography of Italy, by Attilio Zuccagni-Orlandini (Florence, 1844). Work in two volumes. From https://phaidra.cab.unipd.it/ distributed under Creative Commons License CC BY-NC-SA 4. - Charter of the Papal State under the rule of the Romans and in the Middle Ages. Local names used by the Romans and in the Middle Ages, with the corresponding modern names. - Orographic and hydrographic map of the Papal State. Heights of the main localities. Overview of the main mineral products. - Modern charter of the Papal State. Prospectus of the political divisions of the Papal State. From vol. 2 ° of "Geographic Atlas of the Italian States outlined above the best and most modern maps, to serve as a complement to the physical, historical and statistical chorography of Italy, by Attilio Zuccagni-Orlandini (Florence, 1844). Work in two volumes. From https://phaidra.cab.unipd.it/ distributed under Creative Commons License CC BY-NC-SA 4.0 Fig. 4-5: Extracts of the orographic map and the Roman-medieval historical thematic map, based on the indications of Zuccagni-Orlandini, the names written in Latin characters indicate the localities existing under the dominion of the Romans, in Gothic characters "pointing" the places of the Middle Ages. "Geographic Atlas of the Italian States outlined above the best and most modern maps, to serve as a complement to the physical, historical and statistical chorography of Italy, by Attilio Zuccagni-Orlandini (Florence, 1844). Work in two volumes. From https://phaidra.cab.unipd.it/ distributed under Creative Commons License CC BY-NC-SA 4.0 Fig. 6: Excerpt from Political Map of the Pontifical State Delegation of Perugia from 1843 of Zaccagni- Orlandini focused on the “Fratta”. "Geographic Atlas of the Italian States outlined above the best and most modern maps, to serve as a complement to the physical, historical and statistical chorography of Italy, by Attilio Zuccagni-Orlandini (Florence, 1844). Work in two volumes. From https: / /phaidra.cab.unipd.it/ distributed under Creative Commons License CC BY-NC-SA 4.0 Alexis de Toqueville " When the past no longer illuminates the future, the spirit walks in darkness." "When the past no longer illuminates the future, the spirit walks in darkness ". Help us remember umbertidestoria@gmail.com

THE COLOGNE OF PREGGIO 1949 - 1960 The story told by the protagonists themselves Edited by Fabio Mariotti Before telling the story of the Colonia di Preggio, I think it is necessary to frame it in the historical period in which it began. We are in 1949, close to the end of a disastrous war which, in addition to the destruction and deaths it left behind, also left most of the population of our country in a state of profound misery. And this also happened in Umbria, in Umbertide and in Preggio. Many families had difficulty putting together lunch and dinner every day, even if the solidarity between people typical of the rural areas helped to alleviate the state of discomfort. In this difficult context, the Archbishopric of Perugia decided to establish in Preggio the male college of the "Madonna delle Grazie" colony where in the period from 1949 to 1960 many poor, disadvantaged and orphaned children were hosted, mainly from Umbria but also from other regions. From 1961 to 1963 the facility continued to function only as a summer camp. The period of stay of the children was about five years, those necessary to attend the state primary school in Preggio. The management of the Colony was entrusted to the "Sisters of Providence and the Immaculate Conception" who were helped in following the children by some young teachers also from Umbertide. The number of guest children was about 80/85, aged from 6 to 12/14 years, and together with the children of Preggio and its surroundings they formed the five elementary classes. During the summer, after school was over, many children who could not return home remained in the boarding school. The only holiday was that of a few days by the sea at the “Colonia Stella Maris” in Senigallia, also owned by the Archbishopric of Perugia. For the children they were very hard years, away from home, from family affections, forced to follow, at that age, the rules and the rigid discipline of the boarding school but, as is also clear from their testimonies, they managed to overcome it thanks to the spirit of brotherhood that had been created between them. The flood of the Polesine In 1951 the flood of the Po caused the disastrous flood of the Polesine which affected a large part of the province of Rovigo and part of that of Venice, causing almost 100 victims and about 180 thousand displaced persons, with dramatic social and economic consequences. In the poor Italy of that time, however, a generous race of solidarity was opened to help the populations of those territories devastated by the disaster. With this spirit, the Diocese of Perugia decided to give hospitality to some children of the flooded city of Adria, in the province of Venice, at the colony of Preggio. The visit of the Patriarch of Venice and future Pope Angelo Roncalli An important date, for those who could have been there and still remember it with great pleasure, was that of May 30, 1955 when the then Patriarch of Venice Angelo Roncalli came to Preggio. The future Pope John XXIII and today a saint, came to Preggio to thank the population and the workers of the college for having given hospitality to some children of Adria. The celebrations of the 60th anniversary of the event To worthily celebrate the 60th anniversary of this historic event, with Oscar Marta as president, the Committee of the ex-children of the Colony who today are people of seventy years and over was formed, which together with the Pro-loco di Preggio organized a gathering of ex children of the Colony for 30 May 2015. After an intense research work, many of the ex children of the Colony found themselves in Preggio on an unforgettable day, without physically recognizing themselves after so many years, but recognizing themselves in the various stories of the past period in Cologne. And it was a particularly emotional and emotional moment for all of them. This special day was attended, in addition to the president of the local Pro-loco Alberto Bufali and the former children of the Colony, also the mayor of Umbertide Marco Locchi, Cardinal Gualtiero Bassetti (president of the CEI), the parish priest of Preggio Don Francesco Bastianoni and two masters Antonietta Vagniluca and Antonio Miscia, teachers in Preggio during the Colony period. It was also an opportunity to inaugurate the naming of the main square of Preggio to Pope John XXIII, the good and holy Pope, with a plaque donated by the former children of the Colony, who thus wanted to pay homage to the preggese for the generosity shown in the against them during their time in Cologne. A book to tell the history of the colony From that event the idea was also born of creating a book that would tell the story of the Colonia di Preggio, starting from the memories, emotions and testimonies of those who lived that life experience firsthand. The publication, edited by the president of the Pro-loco of the time Alberto Bufali and by the ex-children committee of the Colony, is full of documents and photographs that trace the history of the Colony which is intertwined with that of Preggio in that historical period. There is also talk of the elementary school, with the school registers from 1952 to 1963, the kindergarten, the teachers who accompanied the life of the children and the numerous testimonies of life in the Colony, recovered with patience and dedication by the committee of former children. The work carried out by Alberto Bufali and his collaborators is a precious gift for our entire community and beyond. An accurate testimony of a difficult historical period in a small town where solidarity was never lacking. Extracts from the interventions of President Bufali and Cardinal Bassetti Alberto Bufali , president of the Proloco: “Today Preggio is the center of the world. Center of so many universes of humanity as all those people who talk about themselves today teach us. Stories of men, women and children who meet again here in Preggio, after having searched and found each other with great enthusiasm and great joy. Enthusiasm and joy that involved everyone, especially the preggese, thrilled to relive a historic day like the one 60 years ago, when Pope Roncalli came here to Preggio. To underline the importance of this event, we commissioned a philatelic cancellation with the image of Saint John XXIII from the Italian Post Office, we also gave those present a souvenir parchment, and finally we signed a donation for the children of Nepal affected by the earthquake ". Cardinal Gualtiero Bassetti: "The emotion is also great for me who am here in this somewhat extreme fraction of the Municipality of Umbertide and the Diocese of Perugia, and as Pope Francis says all the suburbs must be visited, but I take the opportunity of the fact that after 60 years a cardinal arrives here and I also feel this responsibility and this profound emotion. Since you also remembered Pope Francis, I want to bring you a greeting and a blessing from him too, because I haven't seen him long ago. Pope Francis is deeply linked to Pope Roncalli, not only for reasons of sympathy, but also by the way he approaches people. When one reads a sentence like the one reported on the commemorative plaque "Always learn to greet the people you meet, because you will form a sweet and peaceful soul and you will get along with everyone and you will have a peaceful life", are also the sentences of Pope Francis , always phrases of profound human wisdom. On the other hand, there cannot be Christian wisdom without human wisdom. But there is another reason more: I know Pope Francis quite well, I also met Pope Roncalli in an audience as a seminarian and he had prepared a sheet for the speech, then to a some point he put down the paper and said “No, I want to tell you some words that come from the heart, I want to tell you something more immediate” a bit like Pope Francis does ”. Then, addressing the former children, he continues: “You came together because you have good memories. It is true that you have been deprived of family affections, but it is also true that you have received assistance that you otherwise would not have had. You studied and this allowed you to work later. You have acquired principles of Christian life that have served you to form your family, principles that you have passed on to your children and grandchildren. The commemorative plaque has a meaning of human and Christian wisdom. The greeting is a sign of education and then a sign of friendship and fraternity ". Finally, the blessing of the commemorative plaque: “Lord bless us all and this plaque which commemorates an episode of humanity and exquisite evangelical value, which remembers precisely the visit of a great Bishop such as Pope Roncalli. Make this plaque that will remain here among us and in our homes, remain as a a sign of goodness, as a touch of God's grace and as an example that will also be passed on to our children and to all generations. For Christ Our Lord Amen ”. The comments and testimonies of some of the former children of the colony Oscar Marta of Perugia: On 30 May 2015, 60 years since the visit of the then Patriarch of Venice, Angelo Roncalli, who became Pope John XXIII and is now a saint, the former children and young people of the Madonna delle Grazie colony in Preggio, found themselves placing a plaque in memory. The Patriarch's visit was due to thank the workers of the Colony led by Mother Superior Sister Giuseppina Donati, and the population of Preggio for the hospitality given in 1952 to the displaced children after the Polesine flood. …… ..All the people of the Proloco did their utmost to ensure the success of the event and that is why the former colonials donated the commemorative plaque to the population of Preggio. During my introductory speech as president of the association, thanking them for the presence of the Cardinal and the Mayor, I prayed to them not to let the structure of the Colony go to waste, but that they would do their best to renovate it to accommodate children in need and disadvantaged. I also urged everyone present to seek out people willing to do this. Pierino Monaldi of San Secondo (PG): “…… .. but I must tell you that the greatest emotion is to see that less fortunate friends arrived in wheelchairs, with walking problems, helped by their families, yes, but they were there, and they were happy. I saw tears of happiness fall from their eyes. Like all of us, they must have said we are there too WE HAVE DONE IT! …… .we ex children on that day of May 30, 2015, as ex children in need we wanted to think of the children of Nepal by collecting donations. It is a good amount that has been reached, but for real needs it is like a grain of sand, like a drop in the sea. But many drops form the oceans. …… .and then I tell you that the other desire, this too is not impossible, and I tell you with the words of Pope Francis: NEVER AGAIN THE WAR. Thus no child will be denied the embrace of a father because the war killed him. I would like to remind you that Pope John XXIII, today Saint, saved us from the third world conflict, therefore nothing is impossible, each in his own small way gives his contribution ”. Pierino Monaldi, orphan of war, son of Giuseppe. Buried in the Italian Military Cemetery of Honor in Ojendorf (Hamburg, Germany) with 5,849 other fallen Italians. Beniamino Ingegneri , currently living in Milan, originally from Adria: "Sometimes I forget recent facts and people, but by association of ideas and memories I have clear my experience of sixty years ago, in fact, as I have already written I cannot forget that particular period for me and for my brothers Angelo, Leopoldo and my cousins now in America. …… ..dear preggesi, it was a brilliant idea to dedicate the square to San Giovanni XXIII. A historical sign that you lived and worthily handed down to future generations. In my name and in that small group of former flood victims now dispersed throughout the world, I express to you, some of whom I remember with affection, my sincere wishes for a happy holiday and a future of serene prosperity ". Friar Leopoldo Ingegneri , Capuchin, brother of Beniamino, writes from Budapest: “I am very sorry not to be able to be present in person at the event you have decided and are carrying out in your city. …… I remember the trip from Perugia to Preggio. I did it in "ape" the means of transporting goods for the nuns. I was alone, I was crying, but I consoled myself by eating the apples that were on the bee. … ..Of course the flood was a sad experience. But I thank the Lord who consoled my sadness with the presence, the affection and the concrete and disinterested help of so many people of Preggio. Preggio, for me is synonymous with generosity and hospitality, qualities that enriched and built my childhood and that now, in the mission in Hungary in which I find myself I try to repeat and to give to others ". Angelo Ingegneri , brother of Beniamino and Leopoldo, writes from Milan: “64 years have passed since that short period spent in Preggio with my brothers and cousins. But that period has stuck in my mind, and I always remember it, even today, with great pleasure. Unfortunately for health reasons I am unable to be physically present in the midst of flights in this extraordinary event, but only with my mind and heart. There is a detail of your celebration that moves me and fills me with joy, and that is your choice of owner of the central square of your beautiful town in San Giovanni XXIII. As you well know Angelo Roncalli, before being appointed pope, was our beloved Patriarch of Venice. And it fills me with emotion to know that he personally felt the need to go to Preggio to thank all the citizens for having hosted a group of Venetian boys who escaped from the disastrous flood of the Polesine. So I too, albeit very late, thank you for this gesture of solidarity and welcome. Beniamino, Angelo and Leopoldo are part of that group of children from Adria who were hosted in Preggio after the Polesine flood and for whom the Patriarch of Venice Angelo Roncalli, the future Pope John XXIII exactly sixty years ago, came to Preggio. Photo: - Photographic Archive of the Municipality of Umbertide, Corradi Photographic Archive - The photos of the flood in the Polesine from the adria.italiani.it website Sources: - "The Colony of Preggio - The children of the Collegio tell stories 1949 - 1960" by Alberto Bufali and the former children's Committee of the Colony, Local Publishing Group - Digital Editor Srl - Umbertide, 2017 - Local information - n.4 2017, “La Colonia di Preggio: a book to remember it” by Eva Giacchè - Preggio News - December 2015 - Press release by Pierino Monaldi

HISTORICAL NOTES OF THE UMBERTIDE MUSICAL BAND From the book by Amedeo Massetti "Two centuries on the march - Umbertide and the band" (Petruzzi Editore - May 2008) We dedicate this page of umbertidestoria to Amedeo Massetti who dedicated the last years of his life to local historical research with great passion and competence and of which he left us testimony with the beautiful and well documented book on the history of the city band. We propose here some excerpts, also considering that the story of the maestro Alessandro Franchi (a myth for the old musicians who knew him) is included in the page dedicated to the biographies of the twentieth century. It is clear that we refer to Amedeo's book all those who wish to deepen or know better this exciting story that continues even today. Curated by Fabio Mariotti The origins: music in Fratta The practice of singing during religious services, as is well known, was widely consolidated in medieval times. The first testimonies of musical performances in Fratta date back to the fourteenth century and are to be contextualized in the context of associative life linked to lay Confraternities. These Confraternities or Companies had their own headquarters and carried out their activity in some churches in the town, such as those of Santa Croce and San Francesco. They had their own regulations, their own administration and were under the control of the bishop. In the chapels, the Confraternities had the religious offices celebrated by a clergyman regularly paid by them, who also had the task of teaching music to some boy who then performed what he had learned in the liturgical ceremonies in the church. Hence, in Fratta the first approach to musical language consists of these simple performances of sacred and liturgical music which took place under the direction of the chaplain. In the Fratta of the seventeenth century, the teaching of music was entrusted to the teacher of the public school of the country - always a priest - managed by the Confraternity of Santa Croce. He instructed the young people of the most prominent families and being often an expert in music and organist in the church, he also took care of the parish choir. Even in the following centuries, musical education will find its natural and qualified seat in the oratories of the churches. The wealthiest Confraternities had always had a chapel master employed by them, usually a clergyman. He took care of the singing liturgy and gave music lessons to the children who attended the oratory and were part of the choir. In 1764 the chapel master of the parish of Santa Maria della Reggia, Silvestro Fanfani, received a (considerable) compensation of 76.33 scudi. Between the parishes and the various Confraternities "a competition of emulation was often unleashed to give religious events the character of grandiose solemnity, precisely through music and choral singing". For the feast of the Madonna, for example, on September 8, 1695, the parish of Santa Maria della Reggia spent 1.62 scudi for the musicians who performed lettanias, sung mass and solemn vespers. Even two years later, on 9 September 1697, Maurizio Savelli received 7 paoli for recognition of the music, that is, for the payment of the musicians who had solemnized the festivity with their work ". The rich Confraternities, such as that of Santa Croce, called foreign masters among the best and most famous of the time. These musicians had a salary of a few scudi a year, but they supplemented their income with other proceeds and lent their work in more Confraternities. In Fratta, there were never more than two or three, despite being the most numerous Confraternities. In a receipt of payment of 1704 to the master Galeazzi by the Confraternity of Santa Croce, we find this annotation: "Our Brotherhood has always been in the habit of keeping the Chapel Master of this land salaried with the annual salary of four scudi, with the obligation to make music for the feast of the Holy Cross, the Madonna and for the three evenings of the 'Exhibition of the Most Holy in Carnival, and other festivals such as at the Council of 21 November 1704 ”. In the minutes of the meeting of May 3, 1707, there is confirmation of the existence of a regular music course dedicated to children at the Oratory of Santa Croce and in it it is even proposed to give a salary to the youth who practice music by half paul for each time they will participate to sing for the feasts of our church. There was therefore a real music school, so much so that an economic incentive was deemed necessary for those less motivated young people, who perhaps preferred other amusements to the commitment of the choir. Even the Confraternity of San Bernardino, second in importance to that of Santa Croce, had its own Chapel Master, who in 1706 was Father Romanelli, a friar minor convent of Perugia, for the exercise of music in ecclesiastical functions and for the routing of young people. In some particularly important circumstances, musicians were brought in from outside, paying them high fees. In 1765, for example, for the construction of the Collegiate Church, 116 scudi and 31.5 baiocchi were spent on the new choir. The sum was considerable: in addition to the remuneration for the numerous musicians and the various transport costs, the sumptuous and delicious lunch was also very important, the main dish of which was the Sicilian maccaroni pie, prepared during the three days of the group's stay at Fratta. In 1795, the Confraternity of the Holy Conception, for the feast of the same name, brought ten professors of music and the chapel master of the cathedral of Città di Castello, for which ten scudi were spent, however, not considered Mr. Domenico Bruni who came to favor. Other expenses incurred for the payment of musicians can be found in the recordings of Santa Maria della Reggia, in the note of the gifts given to various attendants of this Collegiate on the occasion of Christmas, Easter and 8 September 1819. In addition to the chapel master , a remuneration was also paid to Dr. Burelli, GioBatta Spinetti, Bonaventura Spinetti (singer), and Antonio Manzini (tenor singer). "In that year at Santa Maria della Reggia there was still the chapel master Giovanni Manzini , who died a few years later; in 1824 the Collegiate Church paid a sum to Mariangela Manzini, widow of the choirmaster. Alongside the teaching linked to the ecclesiastical environment, there was a musical teaching that took place in the classic way of the time: the disciple stayed in the master's house in a kind of boarding school or boarding school for the years necessary to learn all the secrets of the art. . The relationship between the pupil's family and the teacher was regulated by a notarial deed, and the chapel masters often trained young people in music. In Fratta we find a first example of this in 1774: Clemente Ciangottini entrusted his son Mariano to Domenico Romeggini, from Lucca, who at that time was the chapel master of the Confraternity of Santa Croce. The boy would have had to stay with him for ten years, following the teacher in all his movements, and an annual fee would have been paid to this. But Mariano, two years before the expiration of the contract, ran away leaving his teacher and forcing his father to pay the teacher a large sum for damages. Photo: Historical photographic archive of the Municipality of Umbertide The first marching band The group with the characteristics of a musical band, in the sense that is given to this term today, was established in Fratta on September 1, 1833. It took life within that private company, not dependent on civil or religious institutions, freely created by a group of citizens associated with each other and music lovers, of which it has been said: the Philharmonic Society of Fratta . The founders of the association were almost all very young and belonged to the class of landowners, bourgeois, or to that of craftsmen, that is, artisans or artists. The group of twenty-two members, who were also called Academics, because the Philharmonic Societies also had the name of Philharmonic Academies, was made up of Domenico Agostini, Giuseppe Agostini, Ruggero Burelli, Macrobio Brischi, Niceforo Cambiotti, Luigi Carelli, Domenico Carotini, Pasquale Chimenti , Giovanni Gigli, Lelio Lazzarini, Luigi Magi Spinetti, Luigi Mariani, Alessandro Martinelli, Angelo Martinelli, Demofonte Mastriforti, Antonio Montagnini, Averardo Paulucci, Cipriano Santini, Francesco Santini, Luigi Savelli, Luigi Vescarelli, and Antonio Vibi. We have news of almost all of them in the municipal historical archive. - Domenico Agostini , employee of the Municipality, in charge of "road maintenance assistant"; - Giuseppe Agostini , born in Fratta on 21 August 1817, landowner, lived in via Dritta (now via Cibo); he will carry out the functions of Prior and will participate in the first war of independence ''; - Ruggero Burelli , born in Fratta on 25 June 1803, landowner and notary; municipal secretary, a position he held for many years; lived in via del Teatro (now via Alberti); - Macrobius Brischi , "artiere" (craftsman), blacksmith; - Niceforo Cambiotti , miller: his family practiced this trade already in the 17th century; - Domenico Carotini , born in Fratta on 14 July 1805, maker of clay vases; lived in via di Castelnuovo (now via Cavour); in the municipal concert of 1862 he will play the "quartino"; - Pasquale Chimenti , ceramist; - Giovanni Gigli , born in Fratta on March 4, 1813, potter; he lived in Piazza del Mercato (today's Piazza Caduti del Lavoro); - Lelio Lazzarini , landowner, municipal councilor; from 1856 until September 1860, the year in which the temporal power of the Pope in Umbria, Prior of Fratta, ended; in December 1862, councilor acting as Mayor; - Luigi Magi Spinetti , owner; - Luigi Mariani , born in Fratta on September 6, 1807, "artiere", probably a blacksmith, lived in via San Francesco (now via Soli); in the municipal concert of 1862 he will blow the horn; - Angelo Martinelli , born in Fratta on 25 July 1805, potter and landowner; lived in via del Mercato (now via Magi Spinetti); he will be municipal councilor from 1838 to 1847; he played the bass (he will also play it in the 1862 concert); - Demofonte Mastriforti , born on June 28, 1813, lived in via Bremizia (now via Roma) at no. 24; "blacksmith-gilder, on 12 March 1849 he was elected municipal councilor"; - Antonio Montagnini , born in Fratta on May 31, 1815, shoemaker, lived in via Dritta (now via Cibo); in the 1862 Concerto he will play the clarinet; - Averardo Paulucci , born on 10 April 1810, cashier of the Philharmonic Society; landowner, he lived in via Cavour; he was also the contractor for the duty on the introduction of wood and other fuels; in the 1862 Concerto the piccolo will play: - Cipriano Santini , landowner, was among other things the owner of the farm in the Vocabolo "Fosso"; - Doctor Francesco Santini, born in Fratta on 24 May 1795, landowner, lived in Piazza San Francesco; municipal councilor; in 1840 and 1841, Prior; - Luigi Savelli , born in Fratta on November 22, 1800, landowner, lived in via Dritta (now via Cibo); from 1838, for some years, municipal tax collector; from 1 November 1817 until 1818 and from 1825 until 1860 teacher of reading, writing and numerics in the municipal school; - Luigi Vescarelli , born in Fratta on February 19, 1810, post officer; lived in via di Castelnuovo (now via Cavour); he will be elected city councilor on 12 March 1849. In a meeting following the establishment of the Philharmonic, on December 1, 1833, the Academicians drew up a regulation in which the organizational, financial and musical aspects of associative life were established. This Specification, which consists of 26 articles, is the oldest document found so far on our band, and places it among those with more distant origins, not only in Umbria, but also in Italy. The formal constitution deed of the Company made official the existence of a group that had already been aggregating in previous years. It was most likely some of these musicians who had performed Don Antonio Guerrini's Te Deum in the church of San Francesco six years earlier, on 10 June 1827, even though the instrumental group had been integrated with foreign elements. Guerrini himself, a man of great culture and promoter of important initiatives in the early nineteenth century Fratta had cooperated in the formation of the band, probably also teaching music to many of its members. It is interesting to note how the regulation, in 1833, highlights the presence also in Fratta, within the Philharmonic Society, of a Turkish band, that is, of a "specialized" section of the band, limited to a few instruments, probably only percussions ( the kick drum, the cymbals, the snare drum, etc.), which was convened only for special occasions and upon prior notice. In fact, it had to provide its service - reads the Specifications - only when it had received the prior notice. Let's see the rules that our academics had set themselves and how the Philharmonic Society of our country worked, whose urban center had 825 inhabitants in that year. Organizational and artistic aspect Two deputies dealt with the general economic aspect. Similar to the managing directors of our day, they were renewed every six months, by drawing (by lot) among all the members of the Company. Therefore the two top managerial functions were held in turn by all the shareholders; this criterion denotes a notable form of internal democracy, balanced however by the selective admission of members who, without class prejudices, must have been pleasing to the group of founders. In fact, it was difficult to enter the music association and the admission requirements make us think of a fairly closed group. The candidates had to submit a written request to the president who, after having ascertained the musical ability of the applicant, submitted it to the shareholders' meeting; the request was accepted only with a majority of 2/3 of the votes. However, if any of the shareholders were against it, he brought his reasons to the assembly, and if they were recognized as correct, he did not even proceed to the vote. Discipline, in a group of a fair number of people, was quite rigorous. Everyone had to submit to the authority of the music teacher, the band leader and the director, the most important operational roles in the association, who chose the pieces to be performed and also indicated those to be learned by heart. They could establish additional tests in addition to the usual Sunday tests. In fact, since the components were busy during the week in their work, being owners, employees and artisans, the rehearsals took place on Sunday, usually at two in the afternoon, in a room intended for this use, probably the theater, the only space then existing in the village for recreational activities. Only the Academicians attended, that is, the members of the Philharmonic Society, who had to behave in such a way as not to disturb education in the slightest part. The player could not show up late for rehearsals or music services. If he did so, after half an hour of tolerance, he was fined three baiocchi, and for each piece performed before his arrival he paid another baiocco, in addition to not receiving his share of the regalia, that is, the compensation received by the band for that performance. . No other reason was admitted, if not illness or urgent commitments, of which the director had to be notified in advance. Who notified the musicians of the date of the extraordinary rehearsals and of the services to be performed through the janitor, who probably also had the task of preparing and rearranging the registered office. Within 15 days of the assignment, a musician chosen by lot had to copy the scores with clear and correct writing. Everyone had to have some training and know how to write the music in beautiful handwriting, then distributed to the banders who had to read and play it. The music masters of the various instruments attributed to their students the place in the band and established their role in the instrumental ensemble. Alternatively, the attribution was the responsibility of the director, bearing in mind the boy's ability and talent. The teachers trained the young pupils in a way complete, providing them too (such as could do Antonio Guerrini , gifted with great musical preparation) notions of harmony, composition and counterpoint, in addition to those of reading of music and instrument technique. The Fratta Philharmonic Society included a set of wind instrument players (brass and woodwinds and strings (strings), and also a singer; depending on the type of service requested, he adapted the staff to the circumstance. The uniforms were not provided by the Company. But charged of each musician. The winter one, which was worn from autumn until March, it consisted of a black dress and black trousers; in spring and summer, however, he would wear black dress and white trousers. Failing that, it was recommended to wear the most decent clothing. Some, therefore, do not they possessed what was required and, on the occasion of the services of the band, wore the best clothes. The musicians had the obligation to jealously guard their instruments and repair any damage; at the end of each service they had to return them and deposit them in the gang room. They could also buy them, and in this case the gifts due to them were passed to the cashier until full payment. But the hit instruments, that is the bass drum, the tambourine, the cymbals and the triangle, even if purchased, had to remain in the band's room and, in case of absence, the player delegated to use a person he trusted. If he had not done so, the Society of the band would appoint the most suitable and responsible: the rhythmic instruments were considered essential in the performance and there always had to be someone to play them, like today. The musical group also performed services outside Fratta and could stay away even more than a day. He animated village festivals and gave concerts. The Philharmonic Society had an eminently civil and secular character (even if it participated in religious feasts and ceremonies), with a repertoire both sacred and profane. The deputies (managing directors) thought of providing the venue or space suitable for public performance. The amount of the donation payable by those requesting the musical services was determined by the deputies themselves. In the country, it could not be less than scudi 1.50; outside Fratta with scudi 2, in addition to transport, food and lodging. If a theatrical company required the intervention of banders for a show at the theater, the deputies established a preferential price with the manager so that the amount of it does not ruin the company and prevent the population from enjoying this entertainment. In this case, therefore, the local instrumentalists necessary for the theatrical performance played for a low fee, sometimes even symbolic, for the appreciable purpose of allowing the Frattisans to attend the theater performances of the passing companies ". The compulsory exits were those of Corpus Domini and of the Holy Conception (8 December), occasions in which probably the band, in addition to playing in the church, also accompanied the procession. Those who joined the band had to sign a specification for acceptance which established, among other things, the duration of the Society for a six-year period, which would end in August 1839. We do not know for certain whether at the natural expiry of the six years the Philharmonic Society of Fratta formally renewed his commitment; however it is certain that the brass and woodwind band continued to play regularly, and five years later, in 1844, at the height of its activity, it will serve in important celebrations in the country. Economic aspect A deputy, elected every two months, kept the register of the attendance of musicians at rehearsals and services, of delays and fines (puntature), which he himself applied by collecting the sanction, for unjustified absences. At the end of the mandate, he presented the statement, pouring the proceeds into the hands of the cashier. The cashier had to keep the cashier of the stakes and gifts: in essence, he paid the fees for the services of the band in the cashier, from which he took the bonuses for the players. The money from the stakes was reserved (when there was an adequate sum) for a recreation (convivial meeting, party) at a time chosen by the players, but, depending on their amount, they could also be reinvested in the Company for the purchase. of tools or other. In the event of expulsion, the musician was not entitled to the distribution of the gifts; the episodes of disagreement between the master, band leader or director with the banders were dealt with by the entire Society, convened to resolve the dispute. The musicians received an equal share, including the singers; the ringleader one and a half altitude, the low band half altitude. The latter was almost certainly the rhythm section of the group, that is, those who played the percussion instruments. In fact, we find that, in the Treviglio band (also from 1833), the term low band indicated the tamburone bass drum), the tamburella (snare drum), the sistro chinese and the cymbals. The players of these instruments were evidently thought to be a less educated and less skilled group and took half the others. The Philharmonic Society of Fratta, structured and regulated in this way, continued to exist until 1852 as a private association, independent from public institutions, even after the issue of Cardinal Gamberini's circular. Evidently the Statute respected the criteria established by the circular of 1835 if the Prior of Fratta, in 1852, reported to the Austrian Command of Perugia that the Philharmonic Society, even though it had not "asked for nor ... had any superior permission", had continued to operate . Photo: - Historical photographic archive of the Municipality of Umbertide - Amedeo Massetti (from the book on the history of the Umbertide band) The centenary party and the fanfare of the Civic Guard The Centenary Festival and the band A memorable performance by the Band of the Fratta Philharmonic Society took place in 1844, on the occasion of the great Centenary Festival which was celebrated for the second time, repeating that of 1744, a century earlier. An event was recalled whose echo, after two centuries, had not faded at all, but still profoundly marked the collective memory: the end of the war of the Grand Duke of 1644, which had also closely affected our small city on the Tiber, besieged by he Tuscan army which had put the Fratigians in serious danger, who had built formidable fortifications on the walls and with great fear had prepared for the worst. The bicentenary became the occasion of grandiose celebrations that were concentrated particularly in the days of the traditional September festivities: from the 5th to the 8th of the month. The greatest expenses were borne by the Confraternities who, since January 1st, had formed deputations with the task of going around the country to collect funds. Printed tickets were sent to the owners of the houses to light them with torches, and on September 6 a balloon was raised. There was also a free horse race along the straight stretch of the road to Città di Castello, over the bridge over the Tiber, where, in the first hundred meters, a long embankment ran. And since a large turnout of people was expected, as in reality it was, a long wooden fence was built on both sides of the road to ensure the safety of the crowd. On the 7th and 8th of September, at nightfall, fireworks were launched at will; over a thousand mortars were purchased in Città di Castello and shot by the only Frattisan expert, Pietro Barafano. The houses, the town hall and the town gates were illuminated with wind torches, and the oil lamps were left on along the streets for all four nights. There were various performances at the theater and a service of the marching band. After those of 1835, 1837, 1839 and 1840, this is another important historical documented news of the performance of our city band complex in a specific public service. He had been called to animate the party by the Compagnia della SS.ma Concezione, from which he was also paid. Perhaps he had done months of rehearsals to prepare a repertoire worthy of this special occasion and he had probably never played in front of so many people. We imagine the skill of these musicians in obtaining harmonious notes from the instruments of the time, not as perfected and technologically advanced as the modern ones. The players probably wore the "black dress and white trousers", the summer uniform established by the regulation. Perhaps they will have performed in Piazza del Grano , also called del Marchese, which was smaller than today or perhaps, after having gathered in the space between the doors near the bridge, they will have pushed marching towards the Prato del Comune where there were so many people who attended the horse race. Or, more likely, they will have played in the Sant'Erasmo market or in the Piazza del Borgo Inferiore enough space for a stationary performance, surrounded by hundreds of festive people. In addition to all this, there were solemn religious functions with the participation of many players who came from Sant'Angelo in Vado, Città di Castello, Gubbio, Perugia and Foligno. The anniversary remained memorable. In this feast there was also another orchestra in Fratta made up of about twenty elements from outside, which had played in the various churches during the solemn religious functions. The components had been paid for separately, one by one, as shown by specific registrations and regular receipts. The band had therefore carried out a mainly civil service, of animation of the party, parading and playing among the crowded streets of the town, even if it is probable that it participated in some procession, which certainly did not fail for this event, given the devotion of the Friars to Madonna della Reggia to which they attributed the grace of having escaped, two centuries earlier, to the fury of the army of the Grand Duke of Tuscany. Dense of events, therefore, these festivals of September of 1844, and never repeated again. After this anniversary, for the celebrations in honor of the Madonna, everything fell within the usual limits. The fanfare of the Civic Guard Different from that of the band was the phenomenon of the fanfare of the Civic Guard in Fratta. In March 1848, on the occasion of the institution of the Civic Guard, the Municipal Council decided to bring together a concert for the Civic Guard with the obligation to also lend itself to the public sorties of the Magistrate [...] and it was approved. The proposal to organize a musical band within the City Corps came from the councilors Giuseppe Savelli and Angelo Martinelli , passionate musicians, both double bass players, whom we will find four years later as members of the Fratta Philharmonic Dilettanti and in 1861 active directors of the Concert Society. Probably, what was intended to be created and which was almost certainly established, was a fanfare: a small group of musicians from the band who were also part of the civic guard and gathered to play in public events and in the outings of the Magistrate for civil ceremonies. A military fanfare, in short, with instruments that were perhaps more suited to parades than to concerts. In these circumstances it was necessary to use a few more percussion instruments, at least two more drums. For the occasion it was said that he would have wanted to buy one, finding someone from outside, because Fratta's was not very capable. However, the question was resolved by sending the drummer Giacinto Tancredi to a specialization course in Perugia. The institution of the Civic Guard created in Fratta great enthusiasm, and probably the members of the fanfare were the best wind instrument players of the band, who had thus found another opportunity to express themselves and assumed a further commitment in their musical activity. Since no expense was spared for the equipment of this Corps, it is possible that new tools have been purchased. There is no other information on the activity of the fanfare which, however, probably had to lend its work to Fratta on several occasions. Photo: - Historical photographic archive of the Municipality of Umbertide - Theatrical poster from the book on the city band by Amedeo Massetti The teaching of music in Fratta The Collegiate Church and the choirmaster. Giuseppe Foraboschi While with the birth and development of the bands the music came out of the churches to spread into civil life, the music schools held by the chapel masters continued to be active in Fratta, who shared the alternating fortunes with the bands for a long time. From the music schools, in fact, the bands will draw the highest professionalism and the new generation of musicians. Up to now, the one who had been involved in teaching music in Fratta was the Collegiate Church. Together with the Compagnie (the Confraternities) that contributed to the expense, this provided for an annual sum of 70 scudi for the salary of the choirmaster. In 1810, the master was paid 54 scudi per year. A fabulous figure, considering the salaries of the time ", which always remained at high levels. This explains how many of the best musicians of the time aspired to come to our country to occupy that position. Among the most authoritative masters who had held this position. role had been the canon Antonio Guerrini, composer of Masses and other sacred pieces, such as a full orchestral Te Deum (1827), a Tantum Ergo a tenore (1830) and a Kyrie (1837?) in which only instruments were used for many years Guerrini exercised the office of chapel master of the Collegiata (the main church of his homeland) for many years without ever receiving any remuneration. From 1835 the Municipality of Fratta also contributed to this expense of the Collegiate, participating however in the choice of the teacher. In that year he had allocated a contribution of 25 scudi for the three-year period 1835-1837 and Giuseppe Foraboschi was commissioned, who was also supposed to teach music to young people. “Born in Montefiascone (Sabina) [in 1806, NdA] which later became Perugian, Foraboschi managed the chapel of the cathedral [of San Lorenzo] and the municipal school of Perugia in 1844-1846. Giuseppe Foraboschi of Perugia is named in the diploma of chapel master of the Academy of S. Cecilia, conferred on him on May 30, 1845, which was kept in the reception room of the Shelter he founded. Advisor and censor of the Accademia S. Cecilia, [he was] a pupil in Rome of Maestro Fioravanti, then a teacher in San Pietro. Finding himself in Corfu on the occasion of the passage of King Otto, he was appointed director of all the music of that city, where he replaced Maestro Battagel in the direction of the musical band of the 88th Regiment of His British Majesty, commanded by Colonel O 'Malley, direction that held for six years. From England he moved to Perugia, where he was appointed by the magistrate to succeed Tancioni in 1844 [...]. He attended with many other personalities of music at the funeral of Francesco Morlacchi, celebrated in the cathedral of Perugia on January 14, 1842. Giuseppe Foraboschi resided for a few years in Umbertide, where he married Blandina Agostini. He died in Perugia on June 22, 1878, in his house in via del Circo, at no. 5. Foraboschi distinguished himself for an extraordinary work: the creation of the "Shelter for poor music virtuosos of the Province of Umbria". The institute "originates from the holographic testament of Foraboschi dated January 15, 1883 and subsequent codicils deposited with the notary Benedetto Rates on June 25, 1887 and is governed by the rules laid down by the Law on Pious Works. The Shelter that bears his name was opened on July 12, 1891, and every year it was commemorated with gratitude by the inmates. According to the statute, only the virtuosos of music, excluding the instrument makers of the Province of Umbria who drew their source of income exclusively from the exercise of the musical art and that as they got older they could no longer exercise ". Foraboschi composed the Funeral Sonata (1841) for the funeral of Francesco Morlacchi. His symphony for orchestra, Il bivacco, was performed in Perugia in 1874. Other musical compositions and writings of his are known. The choirmaster Foraboschi certainly also had relations with the Philharmonic Society, because some of the boys who learned music from him then joined the band to play an instrument. Perhaps he was the brass teacher himself and it is very likely that for some time he was also the director of the band, since no names of other masters have been handed down. Giuseppe Foraboschi, however, did not stay long at the keyboard of the organ of the Collegiate and instructing the young people of the band in music. At the end of his three-year assignment (1837) he left Fratta, leaving the town without a choirmaster for many years. He must have been a truly excellent musician if, as we have seen, he later settled in the service of his British Majesty; then he went to Perugia as a music teacher. Francesco Colombati choirmaster and the musical band On 15 December 1849, when the expected specifications were drawn up with the Municipality and after the approval of the act by the pontifical commissioner, the chapel master in service, Professor Francesco Colombati di Pergola, was confirmed. Colombati, organist, graduated from the Philharmonic Academy of Bologna, was born in Sant'Elpidio a Mare in 1823 and came from an illustrious family of musicians. Two years later, on January 15, 1852, Francesco Colombati was re-affirmed by the Municipality; in that year he was also part of Fratta's Philharmonic Dilettanti of sound and song. Therefore, at this date, the Philharmonic Society operated under this new name. It is no coincidence that Colombati is in first place in the list of musicians and, most likely, was also in charge of the instruction and direction of the band, given that part of his annual remuneration was paid by the Municipality. Colombati's musical group played both in the theater and in the church, and also provided services in the village on the occasion of parties and public events. It rang, for example, for the celebrations organized on the occasion of the visit and stay in Fratta of Cardinal Giuseppe Pecci, bishop of Gubbio, on 9 May 1852. It was a great celebration and the Municipal Council, on the following 3 June, resolved the payment of ( huge) expenses, of 21 scudi and 43 baiocchi, for fireworks, refreshments and reconnaissance to the band, the reward, as a sign of "recognition" for the work done by the musical group. But in November 1852, the professor gave up his post and in December he left Fratta because he was appointed chapel master of the Cathedral of Gubbio. Colombati was married, had two children, Emanuele and Maria: the salary offered to him by the Gubbio Chapter was higher than that of the Collegiate Church and more suited to the needs of his family. From now on, for several years, we will see the events of our band intersect directly with those of the chapel master of the Collegiate. In Fratta, as happened in many other cities, the figures overlapped. This musician of ecclesiastical nomination, who was required to have a complete preparation, so much so that he also had to be a composer and teacher, was used by the Municipalities or by the Philharmonic for the training of young people who would be part of the band. In addition to accompanying religious ceremonies with the organ, he imparted the first rudiments of wind instruments and directed the band. The Fratta band was an autonomous entity, born from the Philharmonic Society; the Municipality, however, supported it indirectly by financing the Collegiate Church with a contribution for the salary of the choirmaster who, with his teaching, created the nursery for future musicians. Photo: From the book by Amedeo Massetti "Two centuries on the march - Umbertide and the band" - Petruzzi Editore, 2008 Le origini: la musica a Fratta La prima banda musicale La festa centenaria e la fanfara della Guardia Civica L'insegnamento della musica a Fratta La rinascita della banda dopo la Grande Guerra Il maestro Pietro Franceschini La banda di Pierantonio La banda di Preggio Le origini: la musica a Fratta La prima banda musicale La festa centenaria e la fanfara della Guardia Civica L'insegnamento della musica a Fratta The rebirth of the band and the feast of Santa Cecilia The band restarts after the Great War Maestro Franchi worked assiduously at the school with his uncommon didactic skills that he knew how to apply to the study of every instrument. "On May 27, 1920 he invited the old members of the Umbertide band to a meeting that would take place on May 30 at the headquarters of the music school, in the Nunzi house. The meeting would have prepared a meeting requested by the Prefectural Commissioner, Tacchi, who has recently taken over from the mayor Andreani. The interview with the Commissioner took place on 10 June at 9.30 pm, in the Town Hall. , for a total of 44 musicians. 1. Pucci Celestino, trombone accompaniment - 2. Guardabassi Gaetano, does not play - 3. Pucci Arnaldo, clarino - 4. Bebi Quadrio, clarino - 5. Cozzari Giovanni, bass Bb - 6. Lisarelli Eugenio, cornet - 7. Vibi Ovidio, bass F - 8. Alberti Quartilio, clarino - 9. Bettoni Raffaele, cornet - 10. Salciarini Raffaele, trombone accompaniment - 11. Bartolini Giovanni, bass or trombone - 12. Fucelli Galileo, clarino - 13. Melgradi Silvio, bass drum - 14. Melgradi Michele, flute - 15. Mariotti Celestino, quartino - 16. Villarini Domenico , trumpet accompaniment - 17. Rinaldi Giuseppe, genis - 18. Zurli Astorre, genis - 19. Fiorucci Amedeo, cornet - 20. Codovini Riego, bombardino - 21. Ivo Rossi, bombardino - 22. Barbagianni Giuseppe, trombone - 23. Barbagianni Angelo , trombone - 24. Ceccarelli Luigi, trombone - 25. Celestini Giovanni, genis - 26. Polveroni Giuseppe, clarino - 27. Villarini Mario, clarino ". There was a long discussion about the measures to be taken to reconstitute an efficient band. The speakers were very motivated and Franchi explained the situation thoroughly to the Commissioner, who was interested in the subject. He pointed out the numerous lack of tools, even if the staff was sufficient to start over, waiting for some other boy. In the end, also to start again on the most certain possible bases, it was decided to put pen to paper, to entrust to some people the compilation of a statute. The regulation commission was formed by Quadrio Bebi, Riego Codovini, Giovanni Cozzari, Giovanni Bartolini, Giuseppe Polveroni, Ivo Rossi and Gaetano Guardabassi ". The meeting bore fruit and the first measures in support of the gang began from the Municipality. On July 16, 1920 Commissioner Tacchi adopted a resolution to repair the instruments, in need of restoration, or for the long time in which they had been abandoned or for other "technical deficiencies". The owners, almost all workers "and therefore in very limited economic conditions", did not have the possibility of providing with their own means. Tacchi approved an expense of 801 lire, then added another 52.50 for the purchase of 35 "booklets for marce". And in that same month of July the musical group finally resumed activity. By the end of the summer, the gang was resurrected. Il Messaggero, published in the days close to the Solemnity of Our Lady, says that it had resumed functioning regularly and had been appreciated by the people of Umbria in the celebrations of 8 September 1920: "... It is in the religion of art, of good and of beauty , that Maestro Franchi, with a truly admirable work, managed to resurrect our Concerto which, made up of many young elements, promises a lot ... " (1) . It is also interesting to note the richness and solemnity of the religious celebrations, organized for the occasion by the young "diligent parish priest Don Luigi Cozzari " (2) , in which master Franchi also played a large part. The bishop of Città di Castello, monsignor Carlo Liviero , participated. The "Santa Cecilia Alarm Clock" is born On November 22, 1920, on the initiative of Maestro Franchi and president Gaetano Guardabassi , the feast of Santa Cecilia was celebrated for the first time. The band, "from early morning, walked the main streets of the town thus starting the nice party with a brilliant idea". The gang had inaugurated the "alarm clock" of Santa Cecilia. By parading and playing through the streets of the town in the early hours of the morning he had brought a pleasant musical awakening to the people of Umbria. Franchi and Guardabassi had a good idea, so much so that this tradition continues to this day. In the afternoon there was a concert prepared with all artistic diligence by our talented teacher prof. Alessandro Franchi who deserves the greatest credit for the revival of the city concert. And after the musical program, the traditional dinner. Il Messaggero of 28-29 November 1920 dedicates an article at the event: “… All the pieces, including two very successful compositions of the same master, received unanimous approval of citizenship that was wide of deserved applause for the overall success of the program and of the nice party. There was no lack of the traditional banquet during which the most cheerful and frank reigned enthusiasm of all the participants and there was no lack of it not even greeting speeches praising this beautiful such an effective institution, especially for culture music of the people and for life and brotherhood small town; and so that this new institution can worthily prosper, let us hope it gets moral and financial support, both from the Administration municipal and every single citizen. To the beloved Maestro Franchi, to the diligent president of the Band, Mr. Gaetano Guardabassi, and to all the musicians, go to satisfaction of the citizens of Umbria ". In addition to the students and the components of the concert, "they took part even the former musicians and became more fraternal alliance disparity of ideas and views, thus demonstrating how with joviality and moderation they can still be in similar circumstances unite in a good and friendly thought people who, unfortunately, well they often fight bitterly. "The dinner of Santa Cecilia she had managed to bring together politically minded people completely different, at a time when the victory of the socialists in the local elections of October 24 he had created forts oppositions and one began to feel the violent reaction of the first fascist organizations. The feast of the patron saint of musicians was therefore very successful in her familiarity, and unanimous gratitude was given to Maestro Franchi, "a young and good author and conductor who does so much good to the country both with having restored the city concert and for the perfect performance he gives very good trust for the future, both for the local Schola Cantorum of which he is the true soul ". Probably, however, there was a need for an adequate location, if in December the new mayor Settimio Rometti asked Count Emanuele Ranieri for a room in a house he owned in via Cavour. But the count replied that it was not possible to grant it because it was already occupied by the “Antonio Guerrini Youth Club”. Note: (1) Il Messaggero of 11 September 1920 also reports the description of other events that took place during the feast of 8 September 1920: "Our town, thanks to the tenacious and indefatigable work of a few young people, to whom partisan hatred does not it makes a veil and has not destroyed the love for its native place and for the fine arts, it has been enlivened by gracious celebrations for public benefit. ... The master Maccarelli revealed himself last night for a perfect artist, in the recitation of the "Gruff Beneficial", the very difficult work of Goldoni, together with the master Rondoni, Antonio Igi and Domenico Pauselli; the teacher Fornaci and Professor Garognoli are also very nice and perfect. The Charity Fair and the swimming competition on the Tiber were very successful and charming ... ". (2) Don Luigi Cozzari was born on February 4, 1982. In 1906 he was ordained a priest. Very active in Catholic organizations, he founded in Umbertide, together with Don Bosone Rossi, the Catholic club "Silvio Pellico" based in via Soli, annexed to the church of Santa Croce. He was parish priest of the Collegiate Church of San Giovanni Battista from 1911 to 1956, when Don Antonio Fanucci took over. He died in Umbertide on March 15, 1965. Photo: - Amedeo Massetti photographic archive - Corradi photographic archive - Photographic archive of Don Luigi Cozzari La rinascita della banda dopo la Grande Guerra The master Pietro Franceschini From favorite pupil of Maestro Franchi to the direction of the reconstituted musical band di Umbertide from 1966 to 1970, but above all an exceptional teacher and trainer of many young people Pietro Franceschini is a cornerstone in the history of the gang. And not just ours. There is no wind instrument player in Umbria who does not know him. His activity as a musician has intersected more or less directly with the history of all bands in the region for almost fifty years. He was born in Montecastrilli, in the province of Terni, on 10 December 1919. To follow the movements of his father, a railway worker, he arrived in Umbertide in September 1925 together with the brothers Dino and Goffredo (who will become in the band respectively a flutist and a clarinet player) and he settled with his family in Montecorona. At the age of nine he joined the band of Franks who taught him solfeggio and the first elements of the trumpet. The maestro understood that he had an exceptional natural talent in front of him and immediately included him in the staff by making him play in the band services. At the age of ten he was already performing in concerts in Piazza Umberto I, with a wooden box under his feet to be "up to par" with the others. Franchi had discovered a trumpet player of rare skill, became fond of the boy, took care of his musical training and entrusted him with increasingly important roles. Pietro, at the age of twelve, was already an appreciated instrumentalist and he was also called by the most famous dance orchestras in the area, such as that of “Palazzone”, “Pippo del Caporale”, and others. Franceschini will play in the Umbertide band for many years, attracting attention also in the surrounding area for his skill. Later he will be part of pop music orchestras and his trumpet will become legendary. In 1939 the winds of war began to blow and Franks, like a good father, worried about the boy's destiny. He knew well the director of the Presidential Band of the 81st Infantry Regiment of Rome, Edoardo Castrucci, and wrote to him asking him to include the young talent in order to avoid a possible call to the war zone. In fact Franceschini had already been subjected to a military visit and assigned to the Vº Bersaglieri Regiment of Siena: he was only waiting for the postcard to leave. The master of the Presidiaria, at the end of September 1939, immediately invited the young man to Rome to take a test, brilliantly passed, and the young recruit was drafted into the military band. He didn't even go home to get his personal effects and some documents, but he had the most urgent things sent by his family. Thus began his engagement with the military band of Rome, in which he performed many important services as a soloist in concerts often held at the Basilica of Maxentius and at the Pincio. He had as a colleague an “exceptional” cymbal player, Alberto Sordi, son of a well-known professional of the tuba bass, also recently enrolled in the band, perhaps helped by his father to avoid the front. The young Roman was already embarking on a career as an actor and was acting in prose shows at the Sistine Chapel and in avanspectacle theaters; he had also been the voice actor of Oliver Hardy. Franceschini often amused himself with the funny jokes that the budding actor improvised in the evening in his dormitory, without imagining that soon that cymbal player would become the national Albertone. His fellow musicians (including Professor Luigi Francavilla) looked at him with admiration and were amazed to learn that this talented trumpet player did not have a formal academic degree. The pressures for his enrollment at the Conservatory began, but Pietro remained undecided for a long time until one evening he witnessed his solos in a concert by Tullio Semproni, first trumpet of the Augusteo's orchestra who, after speaking with the master of the band, convinced the young man umbertidese to enroll in regular academic courses. Franceschini plunged into his studio, took private lessons in harmony and history of music, burned all the stages and in just three years, in September 1942, he graduated in trumpet at the “Santa Cecilia” Conservatory in Rome. In the summer of 1943 he will be joined in the band by a fraternal friend of Umbertide, Renato Radicchi, also an excellent trumpeter also sent by Franchi to Castrucci, who will happily share with him three months of military life and musical experience in the Presidency. in Rome not yet occupied by the Germans. After the war, Franceschini returned to Umbertide and began the profession of musician. On February 26, 1946 he won a national competition and began teaching at the Liceo Musicale Pareilato "Francesco Morlacchi" (since 1968 State Conservatory) in Perugia. The acquaintance with the famous conductor Franco Ferrara dates back to this period. He immediately had the position of deputy director of the school, while he carried out an intense concert activity hired as an "adjunct" in the most famous orchestras: that of the Teatro dell'Opera di Roma (at which he won in 1947 the national competition for the position of second trumpet), the Philharmonic Orchestra of Santa Cecilia, the Orchestra of the Maggio Musicale Fiorentino, the Orchestra of Palazzo Pitti in Florence (with whom he toured for a month in Spain) and the Orchestra of the Festival dei Due Mondi in Spoleto . He also played with the Berlin Philharmonic Orchestra, conducted by Herbert Von Karajany, the Vienna Symphony Orchestra and the Krakow Radio Orchestra during repeated seasons of the Umbrian Music Festival. In his spare time he took care of the Umbrian bands, their reconstitution and musical direction: those of Ponte Felcino, Ponte San Giovanni, Spina, Cerqueto, Petrignano d'Assisi, Ponte Pattoli, Gubbio, Pietralunga, Piegaro. Many owe their current activities to Franceschini's professionalism and commitment. He also took care of the teaching of music and the training of students. He followed for the Umbria Region and for 1'Anbima (National Association of Italian Autonomous Musical Bands) numerous events and band competitions, of which he was often an esteemed member of the commission. The reconstitution of the town band and the creation of a music school In 1966, on behalf of Professor Bruno Porrozzi , president of the Pro Loco Umbertidese Association who together with Giuseppe Fiorucci was working on the reconstitution of the local band, he personally committed himself to revive a complex that had dissolved ten years earlier and which he will direct until 1970. At the same time he established a music school which immediately saw the influx of many young people. The musical teaching will continue even after the dissolution of the band, until 1989, and will form a large number of young people from Umberto I, many of whom will be initiated by him to the Conservatory and to a career as musicians. He held the position of director of the Perugia Conservatory from 1974 to 1975, crowning his academic commitment. Among the members of the Umbertide band there had never been a graduate musician, no one who had completed regular courses of study. His teaching was a tremendous incentive. Franceschini, taking them from the large nursery of his students, began to bring prominent elements to the Conservatory. This is a great merit that is unanimously recognized in the Umbertidese musical environment, and beyond. The role of exceptional teacher and trainer continued even after the period of his direction in the band, launching many young people on a musical career. Many have graduated from his school and many professionals have come out of his school. Many other boys (now ex boys) owe to him the only pleasure of playing an instrument and having fun with the music in the local band or orchestras. Franceschini also taught solfeggio to a great Umbertide musician, maestro Gerardo Balbi, making him continue his studies at the Conservatory where he graduated in piano, harpsichord and composition. Umbertide's first graduate was Galliano Cerrini, initially a pupil of the master Corsaro, then of Franceschini who had him enrolled in the Conservatory. An excellent teacher, he managed to bring out the best in anyone, professional or amateur, always paying great attention to detail. In early December 1999, on the occasion of his 80th birthday, he was celebrated with a concert in his honor in the auditorium of the Museum of Santa Croce in Umbertide, held by the "Ottoni di Perugia" group directed by maestro Massimo Bartoletti who he succeeded in the chair of trumpet at the “Francesco Morlacchi” Conservatory. Maestro Franceschini died in Umbertide on 4th August 2004. At his funeral there were many and authoritative exponents of the Umbrian musical environment. The string orchestra "I Solisti di Perugia" wanted to honor him by performing touching musical pieces during the religious ceremony celebrated by Don Gerardo Balbi, his old pupil, in the church of Santa Maria. The town band of Umbertide, integrated by musicians from other Umbrian bands, was waiting for him lined up under the arcades of the Franciscan convent. In an atmosphere full of emotion, under a pouring rain, he sang, at the exit of the coffin, the beautiful funeral march by Ugo Manfredi "Mother's cry". Photo: Amedeo Massetti photographic archive Il maestro Pietro Franceschini Pierantonio's band The "Pierantonio Concert Society" was born in 1886 The constitution of Pierantonio's band almost certainly dates back to 1886. The letter in which Giuseppe Mannocci, on 10 February 1920, asked for a subsidy in the name of the members and the president of the “Società del Concerto di Pierantonio, founded in purpose of entertainment since 1886 ". Mannocci wrote to the Commissioner of the Municipality of Umbertide, Tacchi, recalling that in the village “there are no other entertainments and the members of the band had been forced to give up on Maestro Franchi due to lack of funds. But that Pierantonio's band could already be active in 1886 we are also told by the fact that the musical group, directed by Maestro Massimo Martinelli, received in 1887 from the Municipality a "small annual subsidy" of about one hundred lire, increased to 125 over the years subsequent. However, in those last decades of the nineteenth century, as well as financial means, Pierantonio's gang also needed expert guidance. In fact, on 24 April 1889 Giuseppe Carlani wrote to the Mayor asking to insert in the specifications of the Umbertide band, for approval in those days, the obligation for the music teacher to go to Pierantonio once a week with expenses to be borne by the Pierantonio Concert . The clause was not included in the regulation. But the meeting of the City Council of 26 April established that Massimo Martinelli, conductor of the Umbertide Municipal Concert, for the duration of three years from May 1, 1889, had to go to Pierantonio every Friday for two hours, to "continue teaching music there and direct the relative rehearsals of that concert ". He would have been paid by that same band: five lire every time he went to the hamlet, the same for the "invention or reduction" of every piece of music that had been ordered by the directive commission of that concert. Finally, it was established that this condition was valid only for Pierantonio, excluding Preggio, another fraction of Umbertide in which there was a gang. The activity of the Pierantonio Concerto (probably directed by Massimo Martinelli from 1889 to 1897, albeit discontinuously) continued until the end of the century amid various economic difficulties, relying solely on the shares of the members, ready to self-tax to keep the musical group, much felt and loved. In 1900 he received from the Municipality of Umbertide a small subsidy, of about one hundred lire per year, insufficient to meet the expenses. And the constant lack of funds pushed the executives to appeal to the local administration every time. On November 22, 1906 Pompeo Fanelli wrote a letter asking for a contribution for the "Musical Society of the Village of Pierantonio", established for twenty years and always financed by the members: "The teacher pays the rent of the hall alone - underlined Fanelli - and it meets all other needs with its own means ". But the subsidy did not have to change if a few years later Fanelli was forced to repeat itself. On 22 October 1912 he requested an increase in financial support in the name of the Concerto: "Pierantonio's Concerto Society - he explained - has 25 years of activity and has supported with its own resources the costs of renting the venue, for the master and 'lighting". In exchange, the gang offered itself for any services requested by the Municipality. Finally, after so many questions, on 15 December 1912, the Municipality decided to increase the annual funding from 125 to 2001ire, allowing the gang to continue its activity more calmly. The contribution was even raised to 300 lire in 1913. Now the conditions existed for a profitable and lasting musical commitment, but the First World War was approaching and, starting from 1914, all young people of military age will be called up and sent to various fronts. The band activity thus suffered a long interruption. After the conflict, the musical group slowly resumed work. On October 18, 1919 Pietro Carlani communicated to the Mayor that "the Pierantonio Concert has been reconstituted for some time" and that the partners, wanting a "licensed" teacher, had requested the work of Alessandro Franchi di Umbertide. Carlani specified that the partners paid the rent for the rehearsal room, the maintenance of the instruments and all other small expenses. Therefore he asked the Municipality to intervene. Another letter for a loan will be sent on February 10, 1920 to Commissioner Tacchi, signed by Giuseppe Mannocci, on behalf of the shareholders and of the president for the Società del Concerto di Pierantonio, the owner Pietro Carlani. The Company - underlined Mannocci - had always supported itself with small municipal subsidies, which had been removed during the war period. In the absence of financial means, it was not possible to pay the remuneration to the master Franchi. Almost six months will pass before Mannocci's request is accepted and it will be the new commissioner Lino Molinari, who succeeded Tacchi, to grant a contribution of two hundred lire to the Società del Concerto with a provision of 23 July 1920. The following year, September 24, 1921, Pierantonio's gang again wrote to the Commissioner asking for an increase in the annual contribution. The new prefectural commissioner Angelelli tried to find out about the situation and the next day he replied to Carlo Carlani, head of the section of the Fascio di Pierantonio, asking him "some information on the foundation, purpose and political and financial direction of the local Concerto Society". On 19 October 1921 Carlani expressed a favorable opinion, and the Commissioner thus raised the contribution from two hundred to six hundred lire, starting from 1922, given that an increase of 2,200 lire had been granted to the Umbertide Concert. “We also consider the courage and enthusiasm of Pierantonio's small population - concluded Angelelli - who were able to put together over 20 elements to make up a musical body”. On November 28, 1921, a telegram from the president and the master of the band expressed Pierantonio's gratitude to the Commissioner. The band served on the occasion of civil and religious events or festivals in the town and in the countryside. But on November 4, 1921 he also played together with that of Umbertide in the imposing event in homage to the unknown soldier; memorable is the performance of the hymn of the Piave in Piazza San Francesco. And it often happened that on important occasions she was called to "reinforce" the Umbertidese group. On 10 June 1923, directed by Maestro Franchi, she went alone to La Bruna where the Parco delle Rimembranze was inaugurated. The mayor of Perugia, the Uccelli lawyer, was also present and a long procession, preceded by the band, paraded to honor the fallen by bringing flowers to the commemorative plaque. On 9 September 1923 Pierantonio's musical group played together with those of Montone and Umbertide at the inauguration of the monument to the fallen of the 1915-1918 war, in front of the elementary school building in via Garibaldi. And among the immense crowd, the three groups united managed to create a suggestive sound power. In 1925 the director was Alessandro Franchi. The rehearsals were usually entrusted to a band leader of Pierantonio, Severo Scapicchi, a former clarinet player. Scapicchi, however, only directed the preparation of simple repertoire pieces, such as marches or dances. If pieces of opera or complexes were to be set up, master Franchi from Umbertide would arrive. The gang leader then directed the services for processions or country festivals and his role also appeared from external signs on the uniform: two fillets on the cap unlike the banders who only had one. The band was made up of 30-35 elements, artisan workers, peasants, depending on the availability of each and any absences were due only to work commitments or illness. For the people of Pierantonio, who always stayed in the village in the evening, the band was one of the few diversions. In some particularly large farming families, even two or three members played in the band. The band members included: Sestilio Marcucci (first clarinet) Sigilfredo Valentini (first clarinet) Eliseo Valentini (tenor flugelhorn) Domenico Medici (baritone flugelhorn) Riccardo Fanelli (tenor flugelhorn) Rolando Fanelli (second clarinet) Enrico Arcelli (flugelhorn in E b - pistoncino) Pierino Bistoni (second trumpet) Enrico Ragni (first trumpet) Igino Tosti (second soprano flugelhorn) Giuseppe Scapicchi (first soprano flugelhorn) Pietro Scapicchi (small clarinet in Eb - quart) Fidenzo Mannocci (second clarinet) Ninetto Mannocci (alto flugelhorn) Eraldo Arcelli (second clarinet) Luigi Mannocci (horn) Luigi Giulianelli (trombone) Aldo Giulianelli (alto flugelhorn) Luigi Briziarelli (bass drum) Paris Marcucci (cymbals) Renato Martinelli (horn) Lorenzo Rosini (Eb bass) Pompilio Lazzarini (Bb bass ) Bettino [?] (Solo clarinet) Dante Fanelli (flute) Guerriero Marcucci (second clarinet) Pompeo Fanelli (second clarinet) Alberto Fanelli (co rno accompaniment) Pasquale Casciarri (janitor). On November 22, 1925, Pierantonio's band celebrated the feast of Santa Cecilia with a concert. For the occasion, ten young students made their debut and seventy attended the social dinner, attended by the mayor of Umbertide, Gualtiero Guardabassi and the teacher Franchi. In 1927 Pierantonio's 1st band received an annual contribution of 1,500 lire; that of Umbertide of 4,000. On 8 September 1927 he went to Umbertide together with its president Domenico Medici for a concert in the square together with the band of the capital, forming a group of eighty elements directed by Franchi. Also the following year it will be called to Piazza Umberto I on the day of the feast of the Nativity of the Madonna to play with the band of Umbertide: in all, a group of ninety people. On 28 October 1928 he played again with his colleagues from Umberto who had come with Maestro Franchi for the inauguration of Pierantonio's Casa del Fascio. An important ceremony: the building was among the first of its kind in Italy, thanks to the offers and the industriousness of the inhabitants. The activity in 1929 was intense, with probable services in the capital, since the Municipality assigned a further contribution of five hundred lire. On September 8, 1930, the two bands of Pierantonio and Umbertide still played together. But sometimes, on important occasions such as the patronal feast, the master Franchi called only a few musicians from Pierantonio. In general, Eraldo and Enrico Arcelli, Domenico Medici and Pompilio Lazzarini who went to "reinforce" the roles of Umbertide, also participating in the rehearsals prior to the concert. In these cases, Franchi was very strict. One evening, in the music room of Umbertide, not happy with the success of a piece, he held the band until half past one in the morning. And the clarinetist Eraldo Arcelli returned by bicycle to Pierantonio pedaling for almost an hour. At 2 pm the following afternoon he had to go back to Umbertide again for the concert. Arcelli used the bicycle every time he came to Umbertide; at night the acetylene lamp allowed you to see the stones on the road and not hit them: "It was a tough discipline - remember now, ninety-five - but we were twenty and it was a prestige to belong to the gang". Pierantonio's band, made up entirely of local elements, held concerts in the village at least four times a year. A large audience, on those occasions, flocked to the unpaved square, strewn with breccia. In the lineup pieces of opera, under the direction of the master Franchi. The group then played at the processions for the Ascension, Sant'Antonio, on June 13, Corpus Domini and Easter. But he also went out on the occasion of religious holidays. Like in San Sugaro - Parlesca (the second Sunday in May), in La Bruna (twice a year, but always on the first Sunday in September), in Rancolfo (the first Sunday in June), in Pietramelina (last in August, "At the end of the watermelons") and on August 15, the feast of the Assumption, in Castiglione Ugolino. At country festivals he received salaries ranging from fifty to one hundred lire per performance. The rehearsals were held once a week with Maestro Franchi, in a rented room, also used as a dance hall. Above there was the "Circle of the Lords", where the notables of the town went in the evening to play cards and where dancing parties were organized at carnival. He played an orchestra formed by the instrumentalists of the band (always the good Lorenzo Rosini on the bass). Maestro Franchi came to Pierantonio twice a week, by bicycle. One, for the afternoon music school for the boys and he went home: the salary was five lire. Another, for the evening rehearsals of the band: in addition to the five lire, he was paid for dinner and room for the night. Franchi, in fact, after the rehearsals, slept in Pierantonio in the house of Luciano Barcaroli, owner of a grocery and butcher shop. It would have been hard for the teacher, at eleven in the morning, to travel eight kilometers on a bicycle: the road, unpaved, was full of cobblestones. Pierantonio still reminds us of Franchi's extraordinary speed in composing. Eraldo Arcelli was also a member of a local orchestra and when he needed some new pieces (at that time there weren't many printed scores), he went to Franchi with two pigeons (a sign of gratitude, but also a welcome consideration in lean times) and the teacher, at the piano, instantly churned out a waltz, a polka or a mazurca: a danceable piece to play in the evening. With Franchi, the clarinetist Eraldo Arcelli also played in the Umbertide band. He was second clarinet (2nd A) together with Goffredo Franceschini (2nd B). The first clarinets were Mario Villarini and Filippo Filippi. On July 7, 1930, the 1st band performed under the direction of Franchi in the "beautiful and magnificently illuminated square of Pierantonio". The musicians, "admirable for their discipline and spirit of sacrifice, performed very well all the numbers of the rich and difficult program". Riccardo Fanelli, Domenico Medici and Enrico Arcelli distinguished themselves in a particular way "for their passionate performance". Unanimous praise goes to the master Franchi who even in this hamlet "carries out his skilful activity". A special thanks to the president of the band Ciro Carlani who "supports this beautiful institution which is so useful and accepts the whole country". On Sunday 23 July 1933, at 9 pm, Pierantonio's Dopolavoro band, directed by Maestro Franchi, held an applauded concert in homage to the 1st Artillery Regiment stationed there for tactical exercises. The musical program was greeted with lively cheers from the officers and from all citizens. The symphony of Verdi's Nabucco and the duet of Bellini's Norma were particularly appreciated. The musicians were much acclaimed, including the young Eraldo Arcelli and Pierino Bistoni. After the concert the dances began, very animated in the hall of the Casa del Fascio. The band's activity was interrupted from 1935 to 1939 due to the call to arms of many young people. In 1940 it was reconstituted by a group of boys. It was always directed by Severo Scapicchi, and once a week Franchi came for rehearsals. There was then another interruption during the war period. But it started again immediately after the crossing of the front. Severo Scapicchi and Alessandro Franchi still ran. The gang provided services in La Bruna, in Santa Giuliana, in Pietramelina, in Montelovesco. And also to the Madonna del Monti, after Camporeggiano, which the musicians reached on foot. Bulky tools, such as the crate and dishes, were moved on the back of a mule. The band also went to the Abbey of Montecorona and the Hermitage, Castiglione Ugolino, Murlo, Bagnaia (for San Giuseppe), Rancolfo and Parlesca-San Sugaro. In the latter locality the musicians used a horse cart. The musical group played in Pierantonio for the Ascension, for Sant'Antonio (June 13), for Easter and December 8 (Immaculate Conception). Sometimes he also performed in the square in concerts which he attended all over the country. He was rehearsing in the former “casa del Fascio”, the elementary school building. They made up the group: Evelino Briziarelli (clarinet in Eb - quart) Eraldo Arcelli (first clarinet) Carlo Montacci (clarinet) Goffredo Sannella (clarinet) Giuseppe Salciarini (clarinet) Sestilio Marcucci (clarinet) Guerriero Marcucci (clarinet) Giulio Fanelli (clarinet) Antonio Castellani (clarinet) Renato Fucsina (soprano sax) Enrico Arcelli (trumpet) Pierino Bistoni (trumpet ) Elio Mariucci (trumpet) Renato Arcelli (soprano flugelhorn) Giuseppe Ugolini (trombone) Alberto Arcelli (trombone) Remo Riberti (horn) Marcello Rossi (horn) Ugo Binucci (alto horn) Ugo Fanelli (alto horn) Vincenzo Montanucci (baritone horn) Luigi Monsignori (tenor horn) Ennio Marri (baritone horn) Alfeo Rosini (tenor flugelhorn) Renzo Castellani (bass Bb) Lorenzo Rosini (bass Eb) Pompeo Grelli (bass Fa) Giuseppe Cozzari (bass Bb) Enzo Nottoli (tambourine) Romolo Briziarelli (bass drum) Paris Marcucci (cymbals) Pasquale Casciarri (janitor) . Subsequently Giuseppe Cencetti replaced Romolo Briziarelli at the cash desk. The instruments had been purchased by the musicians themselves. The band reconstituted after the war, however, did not reach the levels of preparation and harmony of the first. When Franchi died in 1948, Severo Scapicchi continued to direct it, helped by Eraldo Arcelli, until 1959, the year of its closure. Photo: Amedeo Massetti photographic archive La banda di Pierantonio La banda di Preggio The band of Preggio Born in the mid-nineteenth century, it remained alive until the early sixties when the depopulation of the territory began The band of Preggio originated in the second half of the nineteenth century, with a considerable numerical consistency when compared to the population and the difficulties that this small mountain town encountered. Both for the poverty of resources, and for the lack of communication routes that would facilitate relations and exchanges with one's own Municipality and the rest of the territory. There were therefore also obstacles to have a qualified musical guide, stable and present over time. In fact, in the decades in which the Preggio band was alive, it often had to provide itself with an autochthonous teacher, while requesting from time to time contributions from Umbertide for its own survival and the presence of the master of the municipal band. For example, with a resolution of April 26, 1889, the municipal council of Umbertide agreed to the request that Massimo Martinelli , master of the band of the Municipality, went to Pierantonio once a week to teach music and conduct the rehearsals of the local Concerto. But in the act it was established that this should happen only for Pierantonio and not for other hamlets of Umbertide. The restriction to a single fraction can be explained by the fact that Martinelli, already occupied by two groups, could not take on a new commitment in another town eighteen kilometers from Umbertide and moreover difficult to reach. Consequently, the Preggio band continued to carry out the activity by providing itself with a local teacher. The request of the president Giovanni Battista Contini on 7 March 1898 is documented, asking the Municipality for financial support of fifty lire "as usual in recent years as an encouragement". Contini specified that the contribution should be received by 12 May, because a "title" had to be paid to the band of Umbertide for the purchase of instruments. The council decided to disburse the requested sum, but specified that this should not have constituted a precedent that would constrain the action of future administrations. It can be deduced that the Municipality had already granted the subsidy for some years, and continued to pay out the same sum of fifty lire, in the following two years, on February 26, 1899 and in January 1900, thus satisfying Romolo Fabbri's requests for " encouragement to the Preggio Music Society ". The preggese group was probably directed in those years by a local person and urgently needed a trained teacher to train the new recruits and carry out the tests. In fact, on 7 September 1901, 67 heads of families, together with the members of the band, signed the petition to the municipal council that the teacher Stanislao Franceschi, recently director of Umbertide, would go once a month to Preggio to give lessons to the members of the philharmonic who otherwise it risked melting. The Mayor gave a favorable opinion. It is probable that the inhabitants of Preggio already knew the maestro, having directed the band of the nearby Castel Rigone in previous years. In 1902 Franceschi continued to go to Preggio every month; his salary, in that year, had been increased from 800 to 1,050 lire. His was a real “journey”, because he arrived in a horse-drawn carriage crossing the Niccone valley up to San'Andrea di Sorbello, touching a strip of Tuscany. Sometimes, between the two groups he directed there were exchanges of instruments and two bombardini were also used by the band of Umbertide. The Concerto di Preggio continued its activity with commitment over the years later, until, in 1905, Stanislao Franceschi left for Sigillo. Umbertide's new master, Carlo Morbidelli, arrived at the end of 1906, he probably did not deal with Preggio due to his many commitments in place with the music school and the subsequent collaboration with the band of Ponte Felcino, in 1909. Preggio had to continue alone again, with the constant problem of scarcity of means. In 1913 Guido was its president Fabbri, who on April 20 presented a request for subsidy to the Municipality. The president pointed out that the eight hundred lire destined as of onsuetudine to the band of Umbertide that year had not been disbursed due to the inactivity of the group, which was expected reconstitution. So he got that from this unused fund a good hundred lire were granted to the band of Preggio. The Great War was also a cause of interruption for the musical activity of the country: there were many young people who left for the front. A regular activity resumed only in 1927, when the organization of the regime's Dopolavoro tended to favor and frame all forms of aggregation between citizens. On 5 January 1928, the mayor of Umbertide, Gualtiero Guardabassi, granted a room for reconstitution to the “Società Filarmonica di Preggio” of the band ”and on 7 December approved a contribution of five hundred lire to the “Banda del Dopolavoro di Preggio, an institution essentially understood to the moral and intellectual elevation of the working class and of one large population that for strength, activity and discipline with which follows the directives of the new regime, deserves every possible regard ". Even under the aegis of fascism the musical society preggese lacked means, so much so that to make the site accessible it had appropriated one of the three oil lamps of public lighting, at whose operation it was chief Giuseppe Cardini. The fact sparked protests and was reported to the Municipality by Romolo Fabbri and David Trentini. In 1929 the band depended on the “Società Musicale di Preggio”, of which the lawyer Antonio Contini was president. The Municipality intervened with a contribution of five hundred lire a year, as it did with the Pierantonio Musical Society, restoring fair treatment between the two fractions. In October 1929, with a provision of the podestà Guadabassi, the "musical society of Preggio" was formally associated with the Dopolavoro: the Podestà granted a contribution of five hundred lire. The 1930s were glorious for the band. The group was directed by a local gang leader, Gaetano Boni; from time to time the teacher Franchi arrived from Umbertide to assist him in teaching young people and in rehearsals. The activity was intense and the repertoire was vast: it included marches and Opera pieces that were played in the square on Sunday evenings in the summer. The presence of the band was often required at religious festivals in nearby parishes, such as Racchiusole or, on the opposite side, in San Paolo, Reschio in the municipality of Lisciano Niccone. The musicians gladly answered the invitations because (as the popular saying states that "all the psalms end in glory") they were occasions for a cheerful feast of macaronias. It wasn't just a recreational function, for an hour's entertainment or an afternoon of celebration. The band of Preggio, and those of all the small towns, far from the cultural circuits and lost in inaccessible areas of a poor and backward nation, deserve the merit of having played a role of cultural promotion in times in which the presence of means of mass communication, as specifically, was limited to the telegraph of the Regie Poste and the radio equipment of the headquarters of the beam. The band activity was a vehicle of knowledge, through a certainly not secondary part of culture and national identity, capable of igniting interest and passion among a population far from cultural centers. It also had the merit of spreading the knowledge of melodrama, so much so that not only men but also completely illiterate women sang songs by Verdi, Puccini, Donizetti by heart. Almost all the families of Preggio had a musician in the band: some more than one. Among the buffaloes, Giovanni called Nino, cornet player, and his brother Luciano the clarinet. Then there were the Stoppa: Settimio on trumpet, Bruno and Benedetto on baritone flugelhorn. To the Contini family belonged the brothers Dino, clarinetist ("quartino"), David, bass player in Eb, Alceo and his father Luigi, also at the clarinet, whom he had to abandon when the shotgun exploded in his hand and lost two fingers. Maestro Boni also belonged to the Contini family, having married Luigi's sister and thus becoming the uncle of two brothers; and they were also his nephews on the part of his mother Giovanni and Luciano Bufali. Relationships of kinship, musical activity, work connected families and players. For example, Alceo Contini was a carpenter together with his uncle Gaetano Boni. This man, a rigorous and tenacious man, was a master of the band and a skilled craftsman; tireless educator, in his spare time he gave music lessons to the boys in his own workshop. A kind of head of the family for that band that among the many relatives, also included another nephew and a brother. The hamlet of Preggio, at the beginning of the thirties, was close to two thousand souls, while in the countryside the families had up to thirty or forty members. The country itself was densely populated. The population increased when work began for the construction of the road section from Preggio to Umbertide through Monte Acuto and Polgeto. Workers came from all over Italy and it was a real providence, because in a period of high unemployment a work of this magnitude, built entirely with a pickaxe, employed hundreds of workers. The road was inaugurated on October 28, 1934, a historic date for Preggio which had been waiting for the connection with its Municipality since the time of the unification of Italy. The service of 21 April 1934 is unforgettable, when the band participated in the inauguration of the cross placed on the top of Monte Acuto, in memory of the holy year 1933-34 and the fallen of the war 1915-1918. It was hard to get to the top, the heaviest tools loaded on the back of a mule, but the wonderful view of the valleys below repaid the efforts of the long climb. Another historic occasion for the town, and therefore for his band, was the "taking possession" of the parish of the Holy Trinity by the new prior, Don Espedito Marcucci, who would hold the Priory until his death in 1973. The band actively participated to the celebrations; the importance of the ceremony was underlined by the presence of civil authorities and by Archbishop Giovanni Battista Rosa who "placed the young priest in possession of the parish benefit". At 11.30 on February 20, 1938, mass sung by the local “Schola cantorum” directed by Alessandro Franchi; at 4 pm, solemn thanksgiving with the performance of the “Te Deum” and the “trina benediction”. The party ended in an evocative way: in the evening Preggio was all lit up with "Venetian lanterns" and "fires of joy" were lit in the countryside. The band continued to be called in the surroundings for the holidays: its services were required in a large area, from Castel Rigone towards Lake Trasimeno, up to Migianella, near Umbertide. By now she had beautiful uniforms and was renowned for the vast and well-kept repertoire, which animated the associative moments in the surrounding countryside and centers. In the mid-forties we find it always active. And in the immediate post-war period, in the period of political elections in which heated and violent partisan passions were unleashed, the gang was the protagonist of an eventful episode. On May 18, 1947, the Sunday after the Ascension, she was called to Monte Acuto, to the traditional feast of the Madonna della Costa, where, after the religious celebrations, she was to hold an "outdoor musical entertainment". He had already started playing in the open space in front of the church when a "communist speaker", climbed onto an embankment, began a meeting addressed to the many present. Impatient for the prolongation of the play, the politician urged the "comrades" to stop the music and they accepted the invitation so well that they lashed out at the players, forcing them to stop with swear words and shoving. The event, although serious, seemed to be over, especially since the lunch seemed to have calmed the spirits. But when, in the afternoon, the band was invited to resume the program, the "comrades" began to mock the band-players who, even hit by a few stones, placed the instruments on the grass and put the jammers to flight with punches. Even the parish priest and his brother, also a priest, were victims of the turmoil, who, in an attempt to gain the door of the rectory to take shelter, were slapped by the mob. The story did not end there, but it had serious consequences. In 1949 the group celebrated the ordination of another priest from Prese, a former member of the band, Don Dino Contini. He accompanied him from home to the church of the Holy Trinity, where the young priest celebrated his first mass. Since then Don Dino would no longer play the "quartino" in the band, but the piano and the great organ of the cathedral of San Lorenzo in Perugia, of which he has been an appreciated organist from 1942 to the present day. But shortly afterwards the good teacher Boni, who had led the group with firmness and skill for many years, died. In the pouring rain of a stormy summer day, the gang accompanied him to the cemetery amidst general emotion. It was a strong and engaging atmosphere that the players managed to create at the funeral of a companion or a relative: people were always struck by it. The gang, therefore, fell silent for a while, but the activity was soon resumed. The prior, Don Espedito Marcucci, passionate about music and aware of the importance of the band for the community of Preggio, took steps to reconstitute it, managing, in 1950, to recompose a group of twenty-three people. Don Espedito had also thought of the instruments, in need of repairs, entrusting them to the tuner Schippa di Passignano. He also bought new ones at his own expense, equipping the gang with everything they needed. The group thus resumed playing under the guidance of Gaetano Boni's nephew and pupil, Alceo Contini, Don Dino's brother; his brother David was then at the baritone flugelhorn (bombardino), Nicola Boni at the cash desk bought by the prior. The director of the band Alceo Contini was a good instrumentalist who played all woods and also the saxophone; famous for his clarinet skills. Contini also took care of the children's music school; the rehearsals took place in a local of the Municipality under the square, in via Dritta. The headquarters will then be moved to the "theater" room, in the large hall overlooking the square. Carlo Boni played the trombone, Otello Sergenti the bombardino, Tommaso Orsini the cornet, Marino Orsini the bass, Biagio Trentini the bass drum, Raimondo Stoppa the "quartino". Then there were Terzilio Peverini and Antonio Cinaglia on clarinet, Gino Falomi and Rolando Trentini on bass, Luciano Bufali and Pietro Bastianoni on clarinet, Quintilio Zandrini on cornet, Pasquale Secondi and Primo Falomi on trombone, Gustavo Bastianoni on alto horn, Riccardo Benigni on tambourine and Alfredo Peverini with dishes. The Preggio band lasted until the early 1960s, when the depopulation of the Apennines began, which would reduce the population down to a hundred inhabitants. Photo: - Amedeo Massetti photographic archive - Historical photographic archive of the Municipality of Umbertide

The traditions In this section you will find contributions on our traditions. In the subsections will be inserted the stories of the individual customs. For now you will find the subsections: on the "crosses in the fields", on the "Ciccicocco", on the "Baca", on the "Street Games" and on the "Kitchen". The new page also, "memory and traditions, curated by Sergio Magrini Alunno, is a connecting page of a large "subsection" dedicated to the world of the last century, especially in the mid-1900s, which saw the end of sharecropping and economic development rapidly changing the economic and social fabric of our country (actually of our entire country, or rather of Italy) and act as a watershed in memory. remembrance of customs and ways of life that we want to preserve. Photo of the large tree that was present in front of the Garibaldi elementary school in the "gardens". 1960s photos by unknown author. We temporarily insert our watermark until the right attribution. The "voices" are at the beginning, some little more than set but so let's begin our story. We look forward to growing with your help. Sources: - Photo: Francesco Deplanu - Photo: historical photos of Umbertide from the web and from various private archives to which we applied the " umbertidestoria " watermark in this way we try to avoid that further disclosure on our part favors purposes that are not consonant with our intentions exclusively social and cultural. Help us remember umbertidestoria@gmail.com

THE "REGINA ELENA" KINDERGARTEN It was inaugurated in 1905 with the mayor Ciro Mavarelli by Amedeo Massetti A room used as a kindergarten already existed in Umbertide in the nineteenth century. In 1904 the municipal council had confirmed Maddalena and Marina Mavarelli (wife of Francesco Mavarelli) in the supervisory commission on this institution. In the council meeting of February 12, 1905, the report by the design engineer and director, Gustavo Scagnetti, on the conclusion of the construction works of the new kindergarten building was read. Mayor Ciro Mavarelli communicated to the municipal council (Vittorio Ramaccioni, Giacomino dal Bianco, Tertulliano Marzani, Avenerio Natali, Gustavo Scagnetti, Romolo Fabbri, Astorre Ramaccioni, Giuseppe Conestabile Della Staffa, Cesare Torzoni, Giovanni Ramaccioni, Giovan Battista Burelli, Stanislao Simoncini, Aristide Reggiani, Antonio Gnoni and Geremia Carlani) the final state of the works, to be paid in 20,422.96 lire. The councilor Cesare Torzoni intervened, recalling how the construction of the new building had been entrusted by private negotiation to the Cooperative of the Masons of Umbertide for the sum of 16,900 lire as a flat rate and now this significant increase could not be explained. Engineer Scagnetti, who was also a municipal councilor, clarified that the increase in expenditure was due to the fact that the Provincial Health Council had imposed changes to the project, which had to be carried out while the works were being carried out. These consisted in raising the classrooms, modifying the floors and replacing the designed perimeter wall with an iron balustrade, so as not to impede the illumination of the classrooms. In addition to this, the new building had to be adapted to the master plan, which the engineer did not know before compiling the project but which the previous administration had wanted to respect; this had led to a notable increase in the length of the surrounding walls. Then there was the increased depth of the foundations, the completion of the bathroom and the kitchens on the ground floor, works that were only foreseen in the project in later times. The council took note of Scagnetti's report, approved it with the changes that had taken place and instructed the council to provide for the related obligations. The new kindergarten was named after Queen Elena of Montenegro, wife of King Vittorio Emanuele III of Savoy, king of Italy It was inaugurated in October 1905 by the mayor Ciro Mavarelli. A commemorative postcard was printed for the occasion. PHOTO: Historical photographic archive of the Municipality of Umbertide, Giuseppe Severi Archive, Fabio Mariotti SOURCES: Historical archive of the Municipality of Umbertide

Departures The stories of those who left and often came back: in the meantime, let's start with the stories of Settimio and Gino. Gino Monsignori, i mari australi e la Svizzera Settimio Presciutti e la Svizzera Departures Settimio Presciutti and Switzerland (edited by Loredana Presciutti) " Settimio Presciutti was born in 1924 And wife in 1951 Annunziata Bomboletti three years younger, born in 1927. Both coming from peasant families, they moved to Umbertide in the Corvatto area (after the sports field along the strada tiberina) where my father had built a small house. Porter for the masons first, he takes the elementary school certificate thanks to the “ Maestrone” Lamberto Beatini and participates in the street competition (he does not win it, recommendations already existed at the time). He then decides to buy a three-wheeler to transport breach and anything else for construction. However, he was defrauded in the purchase by the seller, signed the bills of exchange, got into debt and was forced to emigrate to Switzerland in 1960, alone, leaving me and my mother to earn it to live he worked by the hour in various homes. Photo: Settimio a Ruti in Switzerland In Ruti in the canton of Zurich, he is employed as a worker in blast furnaces, plants used in the steel industry to produce cast iron starting from ferrous material where temperatures of 1200 ° C were used. Working in this environment without protection, he inhaled fine dust whose accumulation led to respiratory problems that forced him, even after returning home for several months to expectorate. black from the residue it had accumulated. 1/1 Photo: Documents of Septimius and Annunziata After about 8 months, unable to live alone, he also asks his wife find a job, otherwise he would have returned to Italy. And so my mother also left in February 1961, leaving me with dear friends who lived next to their apartment, who treated me like a daughter and whom I continued to call uncles until their death. My mother worked at Maschinenfabrik, a company that produced textile machines and he worked there until 1964 when they both left Switzerland to return to Italy. A document of the “Direktion der Polizei Fremdenpolizei” of May 20, 1964, found folded inside the passports, reminds us of the situation of our emigrants. It is a " Residence permit for family members ", with the details written in German and then in Italian and Spanish: “ From your application for an employment permit, or insurance for the issuance of a residence permit, it appears that there are family members with you who obviously intend to reside in the Canton of Zurich as well. We expressly draw your attention to the directives valid for the whole of Switzerland, according to which family members of foreign workers can only be allowed to stay without gainful activity with the head of the household after the latter has spent three years in Switzerland without interruption. Before that date, family members can stay here only temporarily, for visiting reasons. We have provisionally granted or secured a residence permit to take up employment in the Canton of Zurich. In doing so, we have assumed that your family members will leave Switzerland within three months of accounting for your entry. You therefore have the right to decide whether, under these conditions, you would prefer to give up taking up employment and staying in the Canton of Zurich. " Photo: Settimio and Annunziata to Rudi in Switzerland Settimio Presciutti e la Svizzera Thanks to these sacrifices, my father finished the house he had begun to build as soon as he got married on several occasions during his vacation. I believe the greatest pain for my parents was to leave me in Italy; my mother always told me about the sorrow she felt when, returning for short periods of vacation, I called her "aunt" . " Photo: Settimio at work in front of the new house at "Corvatto" Sources: - Family archive Presciutti - Photo: fam. Presciutti Gino Monsignori, the southern seas e Switzerland Australia (edited by Miriam Monsignori) "My father, Gino Monsignori, in the summer of 1954 is an ambitious young man of just 22 who wants nothing more than to create a future of greater well-being and growth than the conditions, albeit dignified, given the war and the large family, which he lived until then. He had tried to create his future in Italy, applying to join the Guardia di Finanza (rejected because he was too young, he had not yet turned 18), in the Railway, but since then if you did not have the "right knowledge" (obviously not those related to competence ...) it was not easy to enter the "good places" and the residual jobs that were found were seasonal and did not give enough economic satisfactions that could create the foundations of that future to which he aspired so much. So, this enterprising young man, one morning in August 1954, takes the train of the old FCU (which then worked well or badly) and went to Perugia to the Provincial Labor and Maximum Occupation Office (established in 1948 and until 1996 which then also acted as emigration centers, based in the most suitable locations for expatriation and repatriation of workers), to ask if there were places in the world where they could go to work. They replied that yes, there would be a country that is looking for labor, it is a bit far away and is called Australia. Well, he answers, takes the question and takes it home. In 1951 an agreement was signed between Italy and Australia by which the two Governments undertook to assist the permanent emigration of suitable persons from Italy to Australia. He talks about it with a friend, Enzo Grottelli, who also comes from an even larger and more needy family who asks him to fill out an application for him too. In November they are both called to go to Milan to carry out all the medical examinations necessary to verify eligibility to emigrate to that country, because Australia does not want sick but healthy and strong people to enter its soil to carry out the activities for which it requires personnel. They stay in Milan for three days where they undergo medical examinations by Australian doctors supported by Italian staff, and where their profiles are also examined and their people checked. Gino Monsignori, i mari australi e la Svizzera At the end of the three days, paid by the Australian Consulate, they are sent back home telling them that the suitable ones would be notified by letter with the date and place of departure. The letter arrives and sets the departure for Australia for the month of February 1955 from the port of Genoa. Gino and Enzo embark together from the port of Genoa, the journey lasts over a month during which they have the opportunity to learn some notions of the English language through the teaching of staff made available by the Australian government. On the outward journey, the ship passed through Port SAID passing through the SUEZ CHANNEL, beyond which it reached the RED SEA, stopping in ADEN, a city of YEMEN at the other outlet of the CHANNEL, where it was refueled and then left again for the 'INDIAN OCEAN and, after another 10 days at sea, touched the coasts of a new stage of the journey, COLOMBO, in SRI LANKA, south of INDIA. A few hours of rest and they left for FREMANTLE, the first port of Australia, where they arrived after another 14 days on the OCEAN without seeing land. A day and a night of rest and, off to Melbourne, another five days of travel and they finally arrived at their destination. In Melbourne they got off and were escorted out of the city to what we now call shelters. There they were really welcoming, it was a neighborhood made up of many wooden houses where a maximum of two people stayed and in which Gino and Enzo stayed about three days after which they told them that there was work in Tasmania and if they wanted they could try to go there. They accepted and again took back a ship and in about six hours they reached the wild island Tasmania today, let alone then. After docking at Porth Arthur and reaching the capital Hobarth they were accompanied to the interior of the island where they were building a hydroelectric power station. There they explained to them that the work consisted of creating artificial passages to divert the waters in favor of the power plant. Gino recalls a landscape rich in waters, rivers and very tall trees, so high that to see the sun he had to raise his eyes to the sky where weak rays of sun filtered through the thick vegetation. Gino's outward journey There, too, they made the houses available to them for a maximum of two people, then they had the canteen to eat and they also gave them blocks with which they could return the money for the trip as they were paid by the companies. The work was not bad but there were only a month left because beyond that there was nothing, they were isolated and life was just work and even if they were there to earn it was not good, they were still twenty years old. Gino, the first on the right, with two friends in Australia So Gino and Enzo returned to Melbourne and from there they went to Queensland, to Ingham, a beautiful town where there was a need for staff to cut sugar cane. Very strenuous work, remember that you have never sweated so much in your life! He did it for three seasons, he worked at a piece rate and earned a lot, to understand: what in Italy he earned in a month with an average job Gino managed to earn in a day! Gino gave all that money back to his family who was building a new house, in part they contributed to this and in part to other needs. At a certain point, however, he felt the lack, not of home, but of his country, Italy, where he had lived, of our culture that when one has the opportunity to see other countries one realizes even more how special it is. , and that's what you miss, nothing more. This is why Gino decided to return to Italy, while his dear friend Enzo wanted to stay there, where he married an Australian lady, has two children and a farm of over 50 hectares where he grows sugar cane. He came back to see Gino twice, the last about 6 years ago, they stayed in touch and there is no Christmas, Easter, birthdays when the phone rings early in the morning and at home we all say “this is Enzo! Answer dad ”, if the phone is slow to ring in those days it is a big concern. Frames from the documentary on Italian emigrants in Ingham in Australia made by Maio Torrisi: " Gentleman of the flashing blade ". Work area of Gino Monsignori and Enzo Grottelli My father says that the return trip in 1958 was beautiful, he came home, he had more money in his pocket and it was a kind of cruise. This time he was alone, Enzo as I said wanted to stay there, the only element of sadness. He wanted to change his route, left Sydney with the ship Castel Felice ( read here the story of the ship ) of the Sitmar company passing through Java, Sumatra (Jelon island !!!!) and up to Singapore crossing the Suez Canal again to dock this time in the port of Naples. From the return trip Gino brought back this parchment which appears to be the evolution of the ex-votos of many overseas emigrants, no longer thanks to God and the wish for a safe journey, but an "institutional" attestation to the ancient sea divinity of the journey in oceans. Swiss Upon returning from Australia, in the summer of 1959, my father stopped by the family to help her with the work in the countryside in Campaola where my grandparents had agricultural land to cultivate and the forest from which they drew family sustenance. But after having had that experience on the other side of the planet, it is easy to understand how Campaola, a town in the mountains that divide Umbertide from Gubbio, was narrow due to its wide views. So at the beginning of 1960 this time he took a train and, first he headed to France and then to Switzerland where there was a large group of people from Umberto I including his brother-in-law, Floridi Evelino. He immediately went to the German canton in the Zurich area and there he began looking for a job and a place to live. He stopped in Rümlang, a small town in the Canton of Zurich in the Dielsdorf district where there was a beautiful productive fabric, with many more or less large factories. In one of these he immediately found work, a job that he continued throughout the period he remained in Switzerland. The factory where Gino worked The story continues with a curious anecdote: since he had won some money at the Totocalcio (Italian habit), he had managed to rent a room near the workplace he had just found. It was a small room that was located above a butcher's shop, equipped with all comforts and above all it was only his and he did not have to share it with anyone. Every now and then he came home, for the Christmas holidays, in the summer for the holidays. The journeys were an odyssey, trains full of compatriots generally coming from the south who brought typical products from their countries of origin, from oranges from Sicily to salami and chillies from Calabria and oil from Puglia. My father told me that once during the journey to Switzerland, one of the wagons began to drip olive juice from the passenger suitcases placed high on the luggage racks! Train journeys were always very crowded and chaotic, people crammed standing along the corridors with the famous cardboard suitcases piled in the intercommunicating passage between two carriages. This happened up to Chiasso, a city on the border with Switzerland. Noise was the watershed: people were identified there, the necessary carriages were added to seat all passengers. Everyone had to have their seats until they reached their travel destination. On one of these return trips my father Gino met Adriana, my mother whom he then married in September 1963. He decided to take her with him to Switzerland where he had a good job and a good accommodation. At this point the room was a bit small, so he looked for an accommodation more suited to his new status as a "married man". He found a large apartment to share with another couple with shared kitchen use. The roommates were from Puglia. Some time after the beginning of the cohabitation, my father, speaking with the owner of the apartment, realized however that he was the one to pay most of the rent and so the cohabitation was interrupted. My parents, given the experience, worked to find an apartment just for them. However, it was not easy to get a decent rented house because the Swiss were very suspicious of foreigners and had to be referenced. My father's reference was a gentleman who worked in the Zurich city hall who acted as guarantor for this young couple who thus managed to obtain a small apartment, a room, a kitchen and a bathroom in Rümlang. My mother, after a first period of acclimatization and arrangement of the house, had decided that she too wanted to look for a job and so first with my father on Saturday morning and then alone she went in search of a job asking in the numerous factories in the country. He found one in a rather large factory where he was not very comfortable. So she left that occupation and soon after she found a job in a small Jewish factory that made pantyhose where she was in charge of what we would now call "quality control". She really liked the work, the environment made up of many young Italian girls from all regions, from north to south, from Veneto, Friuli, Puglia rather than Sicily. It was a wonderful time for Gino and Adriana, they always tell me that they saw a lot of money, they had a nice house, jobs they liked and they were integrating into the rigid Swiss environment both with language and habits. Then one beautiful day in March of '66 my mother realized she was expecting a baby and from there my father immediately wanted to move house and for this he made use of that person again. he worked in the municipality which acted as guarantor for a bank-owned apartment with two bedrooms in a new building. I arrived in November '66 two days after the Florence flood. My grandmother Caterina who came to see her granddaughter did not know until the end if she would be able to pass by train in that Italy divided in two by the flooded Arno in Florence that prevented the passage of trains. My father was waiting for his mother-in-law in Milan to accompany her to a country that seemed so far from the reality from which she came, even the climate, the cold and the abundant snow at that time. My grandmother always told me that in the morning when she went out to the streets of Rümlang to do the shopping, everyone greeted her, they were obsequious (remember that one day during a snowstorm her umbrella slipped away and a gentleman who passed bring it back). She didn't understand their language because they spoke German, they were kind and courteous, according to her, because they mistook her for Swiss because of her fair complexion and light brown hair. The same thing happened to my mother Adriana, blonde blue eyes, her easy integration also passed from here ... Then when I was born, everything was more difficult, also because I did not eat and consequently I did not grow, I had problems with milk so Gino and Adriana took me back to Italy to my maternal grandmother who kept me until my parents decided they could not stay there with me away and that is the spring of 1968. My father remembers that when he went to the Zurich station to contact the manager who would be responsible for organizing the transport of the furniture from their home to Umbertide by train, the latter, after having gone to see where they lived to understand the expedition to be made. She said: "You Italians are all the same, when to start feeling good going home ...". Sources: - Presciutti Loredana - Monsignors Miriam - Presciutti Family Archive - Archives of the Monsignori family - https://hls-dhs-dss.ch/it/articles/041807/2009-10-29/ - https://www.australiaforeveryone.com.au/ships-sitmar.html Help us remember umbertidestoria@gmail.com Edmondo de Amicis ... " Piled there like horses On the cold prow bitten by the winds, They migrate to inhospitable and distant lands; Tattered and emaciated, They cross the seas to look for bread. "... (1882) "The Emigrants"

Memory In this section you will find the stories of the collective and family memories of those who want to remember, thanks to the subsections that report the stories of the memoirs and contributions sent. We are convinced that the memories of those who lived in a specific era, with all the consequences of being born and raised in a given time, also have a "historical" value and are useful in clarifying the inevitable distortions or superficial beliefs about the past. Because through the lives of those who have lived, we can learn more about the consequences experienced by people in different historical moments, political choices, agricultural and technological innovations. From here, moreover, it is also possible to understand what kind of moral, religious, political and economic structuring of a given moment was for different social classes and how this could have profound repercussions in the way of behaving of those who lived in these areas in a certain moment. In the subsections the individual stories, which are never like this because they involve grandparents and ancestors but also their children and grandchildren, or, as in the case of the Second World War, a broad and persistent drama which, as Mario Tosti wrote, is it was "our ordeal" in Umbria. Learn more our memory for what concerns the first part of the twentieth century with the news from Umberto I on the terrible pandemic of the twentieth century, the " S pagnola " . For the period of the following we present " Aristide and the twenty years ", " Lamberto and the Resistance ", " The voices of memory" and the bombing of April 25, 1944. Among the unjustifiable actions of the period of the Second World War we report a long extract from the book "Tre Nuts" by Paola Avorio, on the massacre of Penetola and always on this tragic event we report the book of collection of testimonies made years ago by Giovanni Bottaccioli: " Penetola. Not all the dead die " , a book that can also be downloaded in .pdf by simply clicking here . The contextualization of the tragic events of the period of the Second World War is currently delegated to the " Atlas of Memory " which gives access to the interactive map of Alvaro Tacchini and to the " Paths of Memory " edited by Fabio Mariotti which report the events of 1944. We conclude with the figure of General Alberto Briganti, who crossed the past century, and through his life the history of Italian aviation from before the Second World War to the reconstitution of the Italian Republic's Air Force can also be traced. La Spagnola ad Umbertid e v to the page Aristide and the twenties or v to the page Lamberto and the Resistenz a v to the page Voices of the mind a v to the page Not all the dead die v to the page Penetol a v to the page THE Routes of Memory v to the page The atlas of the Memory v to the page Not all the dead die v to the page Penetol a v to the page THE Routes of Memory v to the page The atlas of the Memory v to the page The general Alberto Briganti v to the page Help us remember umbertidestoria@gmail.com Paul Ginsborg " History tells events, it does not present facts as the simple outcome of causal connections, but as the fruit of choices, ideas and human values ... "

Storia, memoria ed identità Umbertide. Il sito si propone di divulgare la storia, la cultura e la memoria di coloro che hanno abitato ad Umbertide (Pg) per contribuire alla costruzione di una identità culturale comune nel rispetto dei principi Costituzionali. Questa divulgazione è e resterà senza sc HISTORY AND MEMORY UMBERTIDE Virtual place of memory and identity in motion Who we are We are a group of history lovers and scholars who want to create a space for the transmission of documents, memories and traditions of our city. The aim is the development of a shared identity that is inclusive of those who lived and those who live in Umbertide. The cultural and economic aspects, together with the Second World War, over time they have shaped the city, with its architectural elements and its spaces, but also the rural territory which for centuries has maintained its characteristic of scattered "settlement" and polyculture. For about 70 years, the scenario has been rapidly evolving. We are convinced that knowing the past, or who we were, will help understand how the life of the population will be structured, that is who we will be. Knowing allows you to have "new eyes" to see ... and think. Approfondisci la "memoria" ad ottanta anni di distanza dal bombardamento del 1944... Visita "OTTANT'ANNI" la sezione dedicata al progetto pensato da Mario Tosti con UNITRE di Umbertide, CENTRO SOCIO-CULTURALE S. FRANCESCO, UMBERTIDESTORIA e con il Patrocinio del COMUNE DI UMBERTIDE. Il racconto del passaggio del fronte durante la seconda guerra mondiale ad Umbertide, per riattivare la memoria, riflettere e non dimenticare. Progetto nato in collaborazione con il Dipartimento di Filosofia, Scienze umane e Storia della scuola secondaria superiore “Campus da Vinci” di Umbertide, in funzione della trasmissione e crescita della memoria tra le giovani generazioni, che ha visto già diversi incontri con le classe terze dell’a.s. 2023-24. Azioni che hanno portato alla ricerca e sistemazione delle informazioni poi diventate libro e pagine web. OTTANT'ANNI Il 1944 In questa sezione il progetto "Ottantani" per il ricordo della tragedia che colpì la nostra città il 25 aprile 1944. Tragedia che si lega in modo più vasto al territorio dell'alta Umbria per il periodo del passaggio del fronte nel 1944. Un progetto che ha permesso la pubblicazione di un libro cartaceo e ora la versione digitale, nata per far crescere la memoria in maniera collettiva. Un progetto a cura di Mario Tosti, Unitre di Umbertide, Centro Culturale San Francesco, Umbertidestoria, con il Patrocinio del Comune di Umbertide; con la collaborazione di Pietro Taverniti, Massimo Pascolini, Sergio Bargelli, Corrado Baldoni, Francesco Deplanu, Sergio Magrini Alunno, Antonio Renzini, Luca Silvioni, Romano Vibi. Gennaio La situazione al 31 dicembre del 1943... Aprile APRILE 1944 - L’ Umbria ed Umbertide nel mirino degli aerei inglesi... Luglio Luglio... distruzione e liberazione... Ottobre 1° ottobre: è morto Fabio Fornaci combattendo con la RSI... Febbraio 4 febbraio: Nuovo bando di arruolamento. La RSI ordina la chiamata alle armi per le classi 1922/1923/1924... ... Maggio 1° maggio. Dovrebbe essere la festa dei lavoratori, ma non si festeggia niente... Agosto Agosto... Le condizioni a Umbertide migliorano nettamente... Novembre 2 novembre . Gli americani hanno sferrato un attacco aereo su Tokio... Marzo Umbertide, già sconvolta dalla guerra civile, sta per trovarsi nel cratere del fronte del fuoco che avanza... Giugno 4 giugno: Liberazione di Roma... passaggio del fronte in altotevere... Settembre 2 settembre: nomina del nuovo Sindaco... Dicembre 1° dicembre: Morti umbertidesi: Piccioloni, artigliere, soldato della RSI... OTTANT'ANNI Il 1945 Continuiamo a raccontare, mese per mese, i piccoli fatti locali (ma coraggiosi e lungimiranti) che hanno caratterizzato il 1945, anno drammatico ed al tempo stesso esaltante, dopo la catastrofe della guerra in casa. Per superare le difficoltà è necessario rivitalizzare la forza con cui la comunità è riuscita, allora, a rinascere e prosperare in ottant’anni di pace. Gennaio Dopo il 6 luglio 1944, quando gli Alleati sono entrati a Umbertide, il nostro territorio passa formalmente dalla Repubblica Sociale Italiana (RSI), regime collaborazionista con la Germania nazista, al Regno d’Italia (cosiddetto Regno del Sud)... Aprile Il 24 aprile il sindaco Renato Ramaccioni comunica che, per ragioni di studio e di famiglia, dovrà assentarsi dalla sede per circa 20 giorni. Sentito il parere favorevole del locale Comitato di Liberazione e della Giunta comunale... Luglio Il sindaco Astorre Bellarosa, con la sua Giunta, non perde tempo per dare un forte segnale politico con l’intitolazione della Piazza a Giacomo Matteotti, simbolo dell’opposizione al fascismo... Ottobre Il Comune concede gratuitamente un loculo al cimitero per la salma della medaglia d’argento Giuseppe Starnini, caduto combattendo nella guerra di liberazione il 30 aprile 1945. Il Sindaco mette a disposizione della società sportiva Tiberis quanto rimane dell’attrezzatura del gioco pallacanestro... Febbraio Il 6 febbraio, Fausto Fornaci cade nel cielo di Thiene. Allontanatosi un po’ dalla sua formazione, è circondato da caccia americani. Dopo aver abbattuto uno degli avversari, viene attaccato da tutte le parti... Maggio Dopo le dimissioni del sindaco Ramaccioni, si insedia la nuova Giunta, formata in gran parte da comunisti e socialisti: Astorre Bellarosa (il nuovo sindaco)... Agosto La Giunta comunale, con il sindaco falegname e il vicesindaco meccanico, ha la sensibilità di perseguire l’apertura di un liceo scientifico, seppure in presenza di scuole senza vetri, distrutti dalle onde d’urto delle bombe, e senza sedie per gli insegnanti.... Novembre L’amministrazione Bellarosa segna un passo decisamente positivo nel difficile cammino della ricostruzione, anche morale, coinvolgendo quanto più possibile i cittadini che, responsabilizzati da una partecipazione dimenticata da anni... Marzo Il 3 marzo muore Rino Pucci del “Gruppo di combattimento Cremona”. Giuseppe Rosati, rimasto gravemente ferito, spira il 5 marzo all'ospedale canadese di Ravenna. Con essi cade anche la loro mascotte, un ragazzo di 15 anni, Giuseppe Battiglia di Roma, colpito alla testa, il cranio svuotato... Giugno L’urgenza di affrontare le condizioni disastrose, lasciate dalla guerra, non impedisce di impostare la soluzione del problema della ricostruzione... Settembre Il Comune si trova a fronteggiare gravi situazioni di necessità ed assistenza per diversi soggetti. Prende in carico la retta di refezione, a favore di 10 bambini poveri, per i pasti forniti nel locale interrato dell’ala posteriore della scuola elementare di Via Garibaldi... Dicembre Il 4 dicembre le salme di Quirino Pucci, Giuseppe Rosati e Giuseppe Starnini sono traslate ad Umbertide, dove si svolge un funerale solenne, con la partecipazione di tutta la popolazione... Scopri le nostre pagine dinamiche Ogni pagina è un percorso, un grande contenitore dinamico, anche con decide di approfondimenti, sempre in possibile crescita perché la ricerca non deve avere una fine. Ogni pagina è un piccolo "sito" specifico all'interno di "Umbertidestoria". Pagine strutturate in modo da facilitare la navigabilità e quindi la fruizione. La Fratta di Carta Prima della progressiva standardizzazione della cartografia tra '700 ed '800 si sono prodotte rappresentazioni del territorio e di città mosse da diverse esigenze... Memoria e Tradizioni La sezione delle nostre tradizioni e della memoria da preservare, curata da Sergio Magrini Alunno... Ricordi umbertidesi Nuova pagina del sito nella quale intendiamo dare spazio a tutti coloro che vorranno condividere con noi i loro ricordi e i personaggi caratteristici nella Umbertide di una volta anche con documenti e foto d’epoca... Montecorona Sabbianiani Estratti a cura di Giuliano Sabbiniani sulla storia, vita e produzione della Tenuta di Montecorona dal suo libro “Montecorona – la Tenuta e la sua gente”, Gruppo editoriale locale, Digital Editor srl, Umbertide - 2021"... Video di Storia e Territorio Raccolta di pagine con video si luoghi storici architettonici e particolari fonti storiche della storia e del territorio di Umbertide... Fratta del Quattrocento Prima pagina dinamica che raccoglie i vari aspetti del sito su uno specifico periodo storico: il XV secolo dell'antica Fratta... Le storie di Pascolini Prima pagina dinamica che raccoglie i vari contributi con ricerche di archivio di Massimo Pascolini... .... o visita le nostre pagine tematiche di raccordo... ... o scopri le nostre pagine tematiche tradizionali , strutturate come raccordo degli articoli singoli, a volte ancora da sistemare, da dove puoi accedere a specifici approfondimenti.. Nel tempo sostituiremo le pagine tradizionali con quelle dinamiche... "work in progress"! STORIA vai alla pagina STORIA PER TEMI vai alla pagina MEMORIA vai alla pagina TRADIZIONI vai alla pagina ARRIVI E PARTENZE vai alla pagina CALENDARI vai alla pagina TESI DI LAUREA vai alla pagina ALBUM vai alla pagina The information from the birth of the first residential agglomerations to the first archive news, The rapid time of political changes from the Middle Ages to the history of the twentieth century, the architectural remains, our monuments and works of art, the slow pace of changes in the territory that have come to define our landscape, the structuring of traditions, family memory ... all this defines the identity of a place and of the people who live there. Please help us to remember by sending photos (with date and place if possible), reporting errors on our texts, suggesting improvements or writing your memoirs, possibly with historical and contemporary sources, to build a vision of our future. Those who choose to send us images can choose to do overwrite, with the "water mark" technique, your "name and surname" or "family archive ..." on your photos, this to prevent the images from being used once on the web beyond the cultural purposes that we aim. For the same reason we have applied the " umbertidestoria " watermark over the historical photos of Umbertide which have been on the web for some time and in various private archives; in this way we try to avoid that further disclosure on our part favors purposes that are not consonant with our intentions. We come out publicly with parts that are incomplete and to be improved. Ours is an ongoing project that needed to be shared in order to grow. For now, thank you ... Adil, Adriano, Alberto, Alessandro, Alessandro C., Andrea Levi, Anna, Anna Maria, Brunella, Diego, Dritan, Fabio, Federico, Francesco, Giovanna, Giovanni, Giulio, Imperia, Isotta, Mario, Miriam, Loredana, Kalida, Paola, Silvia, Simona, Tiziana, Valentina RV, Valentina P. and all those who have sent us photos or supported. Help us remember umbertidestoria@gmail.com EH Carr "Change is certain. Progress is not "

Arrivals Who arrived ... or was practically born in Umbertide, here are some of our stories: Dritan Kamel e Kalida Adil Tiziana Dritan Kamel e Kalida Adil Dritan (edited by Francesco Deplanu) Dritan arrived in Italy at the age of 19, in March 1991; on that same date Albanian immigration to Italy resumed. Today in our Umbertide more than 500 citizens are of the first generation Albanian or already born Italian, a population attributable to this emigration wave. It was not the first in the centuries: “Piana degli Albanesi” in Sicily, several towns of the Pollino in Calabria, Campomarino in Molise are some of the areas that were populated by Albanians since the Middle Ages; migratory flows also connected with the crisis and then the fall of the Eastern Roman Empire, in addition to the death of Scanderbeg which marked the apex of Albanian independence from the Ottoman Empire (here the biography of the Albanian identity hero in Italian, downloadable in .pdf , written by Fan S. Noli). These arbëreshe communities remind us of the proximity of the Italian and Albanian coasts and the history that concerned them. "Skanderbeg and his warriors" in National Museum " Gjergj Kastrioti Skënderbeu " By Avi1111 dr. avishai teicher - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=34192184 In the last months of 1989, however, the Berlin Wall collapsed. For the "popular democracies" of Eastern Europe, which had become dictatorial regimes, a period of instability began which quickly led to the implosion of these political systems. In Tirana in February 1991 there was the demolition of the statue of the dictator Enver Hoxha and there were numerous riots in the country. Immediately afterwards, emigration to Italy began. Dritan arrived on the coasts of the P uglia in Brindisi in early March : two large Albanian merchant ships, the “Tirana” and the “Liriya”, loaded with 6,500 people, arrived in the port on 6 March, followed by others. The arrival in Brindisi lasted a few days, the immigrants were quickly brought back to Albania. But the unpreparedness for the arrival of a flow of thousands of people left the authorities and the population of Brindisi alone to manage the landing. Subsequently, the disembarked people were locked up in the stadium and chaotically supplied with bread and water under the control of the army. Dritan says: " I was among the last who did not want to return (accept the transfer to Albania proposed by the authorities ed), they called us the" non-surrendered ", we even went without eating, in the end they took us to Modena for a few days ". Meanwhile in Albania the social and political situation of what remained of the Hoxa regime was felt to be unbearable. For some time not only had material life been difficult but respect for personal freedom had been severely limited in the country: in the documentary "Anija" by Roland Sejko the starting situation is described and it is recalled that already in 1978 three Albanian boys had been sentenced to death for having thought of emigrating to Italy. The Italian government, meanwhile, chose the forced repatriation of most of the people. Dritan recalls that on the same day (about a week after arrival ed) of a riot in Tirana against the Italian Embassy he was brought back: " the same day a bus arrives, they tell us that we have to go to Bologna to get the documents instead they board a plane for Albania. Once we got off with military vehicles they took us to prison, but two cousins and I understand the intention and as soon as the opportunity arises we jump out of the vehicle and take advantage of not being imprisoned ". He returned in August with the Vlora, a ship for the transport of sugar that was diverted to Italy, was filled with people beyond belief, it is thought 20,000. This time Dritan stayed for a few weeks. The arrival of this cargo and the conditions of the emigrants are mentioned in another Italian documentary “La dolce Nave”. In the following years Dritan returned again to Italy and settled in Umbertide. For 25 years he has been working steadily in the most innovative development sectors in central Italy, linked to engineering which are a flagship of the Umbertidese production system. As soon as he was able to work he rented an apartment to marry his beloved girl who joined him; then he continued to build his family between new born and the arrival of his parents from Albania. Now he has long since acquired Italian citizenship and has forged strong bonds of friendship and esteem, even if he always thinks about the place where he was born. A similar fate for many young Albanians who have since settled in Umbertide and have given life to what can be defined as an "ethnic colony" in a land of emigration, where the first who integrated have acted as economic and moral support for the new you arrive through family channels. Like Dritan, the Albanian community has integrated with the desire to establish itself above all in work: in the construction sector, for example, there are already about 20 companies and Registered "self-employed workers" and present in Umbertide. The desire to integrate with stability is also evidenced by the gender ratio of the resident emigrant population: the Albanian is the only ethnic group with an equal ratio between "males" and "females", 280 to 281 in the last census. Willingness to settle in Umbertide in a stable manner confirmed by the comparison with the census of December 2005 which counted 394 Albanian residents: then the "males" were 210, while the "females" were only 184. Shijak photo in 1964: Dritan came from Shijak, 11 km from Durres (Dures) and 31 km from Tirana. In the English Wikipedia entry you can read “ reported population of around 12,853 people as of 2007. In reality the population is smaller as many people who claim residency in Shijak actually reside permanently elsewhere. ". In short, emigration continued in its area of origin and mainly concerned young people. This is also confirmed by the fact that the natural demographic growth of the Shijak population decreased from 2003 to 2007 by almost 60%. Many Albanian children who arrived in the 1990s are now adults and live in Umbertide with their children ... and now someone with their first grandchildren. Children and grandchildren who are and will be bearers of a double identity: Umbertidesi and linked to the land of origin of their fathers. We thank Dritan for telling us his story and allowing us to enrich us. Sources: - Oral sources - https://www.empresite.it/Attivita/MC-COSTRUZIONI/citta/UMBERTIDE/ - https://www.dnb.com/business-directory/company-information.specialty-contractors.it.perugia.umbertide.html?page=1 -Photo by Shijak in 1964: By Agim Faja - Self-photographed, Attribution, https://commons.wikimedia.org/w/index.php curid = 10665893 - https://commons.wikimedia.org/wiki/File:Skanderbeg_and_his_warriors_in_skanderbeg_museum,_Kruje.JPG#/media/File:Skanderbeg_and_his_warriors_in_skanderbeg_museum,_Kruje.JPG -https: //cs.wikipedia.org/wiki/Shijak - http://www.vatrarberesh.it/bibostazione/ebooks/scanderbegnoli.pdf Kamel and Kalida (edited by Francesco Deplanu) Among those who have chosen Umbertide to live there is Kamel who formed here his family. Very young Kamel, born in Algiers, sought to know the ways of life in other countries. He came to us for the first time in 1991, he settled there in 1995 but this year, about a month ago, he felt forced to leave Umbertide, now an Italian citizen, to seek a better life in Manchester in England. Fig. 1: Algiers from Wikipedia. The user who originally uploaded the file was Dolphin Jedi from English Wikipedia Dolphin Jedi - English Wikipedia (Original text: Transferred from en.wikipedia to Commons.), CC BY-SA 3.0, https: // commons. wikimedia.org/w/index.php?curid=31689311 His wife Kalida, says that " Kamel was a young 20-year-old boy, smart, full of dreams with a great desire to travel and discover the other side of the horizon, being convinced that there would be a better future awaiting him, despite that in Algeria he was well off, there was neither war nor economic crisis, but he was looking for something different, so he launched a small tour visiting many countries, Switzerland, Spain, Libya, Austria, Hungary, Morocco, and then Italy. the first time he came to Italy was in 1991 but only with a tourist visa, and something snapped that on his return to Algeria made him think of returning there to live there, he returned another time to Italy, to Umbertide, but to looking for work, it was not so easy to find it when you do not speak the language and when there is a great distrust from people towards everything that is different. Kamel, however, did not give up and got busy and did all the possible trade, bricklayer, gardener, worked in the tobacco fields and over time in the mechanical industry. ". For 20 years Kamel worked in various medium-sized companies in the mechanical field of Umbria but never managed to get a permanent contract. Kalida continues: “ For Kamel it was not always fun, life got very hard with that young boy, it was more and more difficult to find houses for rent because people did not trust him, but he dreamed of stability. After so much suffering he always managed to find a good soul who granted him the benefit of the doubt, so in 1995 he managed to obtain his first residence permit thanks to a stable employment contract and a house. ". Like many emigrants, after a few years Kamel felt the need to settle down, get married and start a family. He will marry Kalida, a cultured young man who already knows the local Algerian variant in addition to Arabic, the Berber which is the language of his parents, English and French. Fig. 2: Algiers. The neighborhood where Kalida was born. Fig. 3-4: Traditional Algerian Cous Cous and Mint Tea prepared by Kalida. Kalida says: “ in 2004 he and I get married, I am a young graduate in finance full of life plans. My departure for Italy provoked in me a feeling of great enthusiasm and great sadness, I was leaving my land for another stranger, I was leaving my loved ones ignoring what was waiting for me. I am a woman who traveled a lot as a child, France, Spain, Portugal, Tunisia, UK, in short, for me living in Italy would have been a long vacation, but it wasn't at all. My arrival in Umbertide was a big change in my life, I, a girl born in Algiers, capital of Algeria, was used to the big city I find myself in a small town, the rhythms of life were completely different, but this was not the biggest problem. So I faced the obstacle of the language, but I challenged myself to study it and I did it, then taking the middle school certificate with top marks. The thing that made me suffer the most, however, was the gaze of the people, it was something that killed me more and more, I was not seen as a woman but as a "Moroccan" with a veil! I must say that I have faced many very unpleasant situations, luckily I was strong in character and I have always tried to moving forward, studying, playing sports, after the birth of my 3 children I became more and more involved in their school career, trying to participate in all school activities; without ever losing sight of my dream of working but I soon realized that with my veil I will never be given the chance to work, I was like "an alien". it was so scary, finally I surrendered to the harsh reality, I was always there to justify myself for that that I was, I wanted to shout loud and loud to the whole world that the veil was covering my hair and not my brain! For 15 years I haven't been able to get a I work in Umbertide, and it was not easy for us to resist with a salary paying everything (rent, bills, expenses ...) but we have always made sure with great sacrifices, the relationship I had with Umbertide has always been love and hate, of course I have not only had bad things in my life in this city, on the contrary, it has given me the opportunity to meet some fantastic people who have accompanied me along my life path. " " Thanks to these people I was able to face the nostalgia of my country and my family, I love Italy, my children were born there and they have an unconditional love for Umbertide, with them I have always spoken the 3 languages, Arabic, French and Italian but mostly ľItalian and they almost always speak Italian between them but unfortunately for economic and social reasons we had to leave this land, looking for economic and mental well-being elsewhere. It was not an easy choice at all but in life you have to risk and therefore, for a second time in our life, we were forced to leave land and loved ones in search of a country that offers us a chance to work both, without any prejudice, my dream was to be judged for what I was and for my abilities and not for what I was wearing. " Fig. 5: The "Skyscraper" seen from the Piazzetta . I would never have left ľItaly if I had been given ľopportunity to work. " When asked for which country she misses most now that she is in England Kalida replies "Italy", even if from Algeria she stresses "I miss my mother" and then continues to tell us that "there are many things I miss about Umbertide, first of all my friends and friends, the small pleasant moments we shared together such as having breakfast, going shopping, sitting in the Piazzetta to see the children playing together while eating a good ice cream. "The Piazzetta, or rather the square of the" skyscraper "which replaced the" gardens "of previous generations as a summer meeting point, was the main place where children and young people of different cultures met especially in the summer. those relationships that have allowed us to get to know each other more in depth, starting with eating the tastiest dishes together and thus consolidating friendships. Kalida concludes “ from Umbertide I miss the sun and good food, take a stroll to the market on Wednesdays, take a long walk in the evening after dinner, here in Manchester, on the other hand, I don't feel safe in the evening. ". Fig. 6-7-8: Manchester in England Sources: - Texts written directly in Italian by Kalida S. - Photo by Kalida S. and Francesco Deplanu Adil Adil's family moved to Umbertide a few months after he was born from a mining town in central Morocco: Khouribga. Adil lives and it's always lived in Umbertide. Image of Adil's parents' hometown clock. Khouribga's clock: Energievision [CC BY-SA 3.0 (https://creativecommons.org/licenses/by-sa/3.0)]. From Wikipedia: https://commons.wikimedia.org/wiki/File: ساعة_خريبكة_ l% 27horloge_de_khouribga_1.jpg (edited by Adil BA) “After 2 years of visits the doctor told my mom that she couldn't help my brother in any way. His problems were irreversible, but with specific surgery and medications he could live a few more years. << You have to move to Europe, lady >> And so it was that my family moved to Italy at the dawn of 1982. A casual and dramatic event changed the course of events, forever. My brother lived until March 3, 2000 and found fantastic doctors, nurses who still greet me today and tell about when they held me in their arms, people who cared about his and our health. I have lived in Umbertide since I was aware of myself, when my parents moved I was 3 months old, so I did not experience the change, the emigration. Just thinking about leaving my home, whatever the reason, makes me very sad. I lived 2 cultures, one at home and one outside, at school, at the camp, at Garibaldi with friends. I have always had the possibility to choose my thought and I have always formed it with more interpretations. I knew what it was like here, I saw what it was like there, and it was a fortune that I can never thank enough for. At school I was the only one, not in the classroom, but in the whole school to come from another country. They were certainly different times, but when you are a child there are no differences. However, I learned early enough that I was "other than", only that in some areas I was a little more different ... it always depended on the interlocutor. This was an important lesson, as not everyone generalized with me I didn't generalize and I still don't do it with others. Growing up and coming out of the glass bubble of the school I had a few more problems, I had to deal with some aspects of life that made me suffer but undoubtedly also grow. I found myself being neither meat nor fish. Too black for someone, too white for someone else. I went through a period in which you ultimately have to choose whether to play the victim and mourn yourself or to treasure what happened to you and still continue to have faith in humanity. Trust that then pays off because a person's qualities go beyond prejudices. I had job opportunities, I met people who initially looked at me with doubt and with whom I built thirty-year friendships. Transversal friendships, regardless of political, religious, football, or social background. I have had and have disagreements, especially when the topic of discussion is religion, but I have also learned not to always put it on a personal level. I learned to measure myself with others serenely not to “feel myself in the crosshairs.” There will always be those who think differently regardless, it is the founding aspect of a multiracial society. Basically, I had to move to find my home. ". Sources: - Written texts by Adil BA - Photo by Energievision [CC BY-SA 3.0 (https://creativecommons.org/licenses/by-sa/3.0)]. From Wikipedia: https://commons.wikimedia.org/wiki/File: ساعة_خريبكة_ l% 27horloge_de_khouribga_1.jpg Tiziana (edited by Francesco Deplanu) Tiziana arrived from Colombia, a journey back across the ocean to get to Italy. Tiziana has blue eyes that come from afar. Barbara began a long journey from Maratea to Colombia, after three generations Tiziana landed, on a reverse journey, in the hills above Pierantonio. Emigration moves away from the original nucleus, breaks roles and power relations, allowed and allows women to assert themselves beyond socially prepared screens and “destinies”. On trips across the border, luck, skills and, often, choices of love mix places and possibilities. Barbara Iannini left Italy and left to reach Colombia. He chose who to love and his career destiny. He had three children in a new "foreign" land. One of these, Elisa, married Pierluigi a young man who emigrated to Colombia from Foligno. Tiziana, their daughter, retraced her grandmother's journey backwards, from Bogota to Maratea, where she fell in love and then married a local boy. Today his is a large family with 4 children who are in the hills of our area. His children studied and studied in Pierantonio and Umbertide. Tiziana at her wedding in Italy Tiziana states that " Umbrian people are kind, cordial, sincere and Umbria, both in my husband and in me, has always exercised a certain fascination for the green of its woods, for the history of centuries that it has left traces in every city and its castles that dominate the narrow valleys from the heights . ". Listening to Tiziana's family story, one enters a female narrative perspective, where choices of life and affections characterize the “minor” story of emigration. Because Barbara, Elisa and Tiziana have come to terms not only with the need for economic affirmation or cultural training, but they have done so with their multiple role as mothers, workers, sisters. They have worked and lived by taking care of the growth of children with double identity, both "going" and "returning". In 1979 a work by a third generation Italian-American writer, “Umbertine” by Helen Barolini, appeared in North American literature. The need for a female narrative revealed for the first time the “minor” aspect of the female perspective in living in a new world and dealing with one's own identity. Tiziana's stories have the same tenor, but they end in a more complex way: the identity from a female perspective formed in the country of arrival is broken and recomposed again in the "old" country. Barbara, known as Barbarina, in the 30s of the last century, followed the brothers overseas and worked in their porcelain shop, then married Carlo Rovida and with him she began a career as an entrepreneur. Today his work is more than visible, his company founded in 1943, San Marcos , a confectionery industry with restaurant and bakery, is an excellence in Colombia. His role, all the more difficult to achieve given his "gender", is mentioned in a dedicated page on the same site of the company in the page dedicated to " Women's Day " ... with its own title in Italian, written by Valentina sister of Tiziana. Image by Barbara and text from: https://www.sanmarcos1943.com/barbara-iannini/ Here you can read: “ El día de la mujer es muy important para la panadería San Marcos: nuestra fundadora Barbara Iannini was a powerful y valiente mujer. Su labor como mujer de negocios fue todo un ejemplo para la comunidad italiano de Bogotá que siempre vio en her a figure admirable, but sobretodo, su presencia fue una gran inspiración para muchas de las empleadas más antiguas del establecimiento. If it happened to the 28 years of edad (tarde para la época) and gracias a on impulse logro that at the moment the panadería San Marcos was the principal productora de pan in the city of Bogotá. He was looking for a muchas de las empleadas de la empresa que la recuerdan con cariño por haberlas aconsejado de manera correcta en muchos problemas domésticos: siempre las alentó en las dificultades y las incentivó a ser mujeres independientes en todo sentido. ". Tiziana grew up in the large family connected to the community of second generation "Italians" or to those who subsequently reached Colombia from our country. The grandfather founded, among others, the " Leonardo da Vinci " school in Bogotà, a private school where, in addition to Spanish, the language of one's own tradition was studied; norm that concerned in Colombia a multitude of languages brought by the emigratory and indigenous mix. However, Tiziana completed her university studies, already engaged to Antonio, in Milan in Mechanical Engineering with a biomedical address. But adjusting to life in the city proved difficult. Not so much for the difference between an Italian language studied in Colombia compared to the real one with which she was confronted, but for the limitation in human relationships: the detachment from others, a frenetic life based on the activities to be carried out turned out to be opposed to the way of life for Tiziana Colombian; a life full of joy, of value to friendship and open to relationships with others. These aspects linked to human relationships now Tiziana feels she has rediscovered them starting with the meetings she had with small children and other mothers in the square of Pierantonio. What certainly differentiates the life structure in Colombia from the Italian one is the minor social division; a division that seems insurmountable in Colombia. The division between rich and poor, in a country of extreme poverty, is clear, even among young people, to which is added a difference between those who descend from an American or Spanish "stock" and other ethnic groups. Some time ago Tiziana recalled how Bogota had "six million inhabitants, of which four are poor and of these one million are destitute". Among the poor who have an even worse situation is the female gender, underpaid and exploited. Tiziana remembers how the values of her family have always been opposed to this triple division, economic, ethnic and gender: " Since I was a child I felt close to those who were marginalized by my classmates due to their economic condition or the color of their skin " . These beliefs depended on the upbringing and example of her family, especially her grandmother Barbara and her mother Elisa: " Just tell you one of the many wonderful things that my mother and grandmother did to make you happy, at least for one day, of orphaned and abandoned girls: on the occasion of my sister's first communion she organized the party at the orphanage run by Italian nuns, who were customers of the shop. He also called one of the best entertainers in the square and he worked all afternoon and did not want to be paid, he offered his work for free because he understood the purpose for which the party was dedicated. I still have before my eyes the enchanted and joyful gazes of those little girls who had never witnessed games like this, had never known the warmth of a family and never caressed their mother's face ". In the center, at the wedding of her niece, Barbarina Iannini, surrounded by her family. Today Umbertide is home to about 80 people from South America. Those who leave their country bring with them their habits, sounds and music, pride in their culture or religion and, as in the case of Tiziana's grandmother, culinary traditions. From any country you leave and in any country you arrive. Identity is not lost but readapts and changes, it becomes double. Pierluigi, Tiziana's father strengthened in his family both the "nostalgia" of Italy and the use of the language also carried out for his love for Italian music and opera. All this contributed to the choice of Tiziana who left Colombia, a big city and came to live in a small rural nucleus of our hills. Sources: - Oral source - Photo: Tiziana's family archive. - https://www.sanmarcos1943.com - https://www.sanmarcos1943.com/barbara-iannini/ Help us remember umbertidestoria@gmail.com Fernand Braudel "History is nothing more than a constant questioning of past times in the name of the problems, curiosities and even anxieties and anxieties of the present time that surround us and besiege us" Tiziana

Il Bombardamento di Umbertide del 25 aprile 1944. La memoria delle vittime di Borgo San Giovanni attraverso la poesia: "Voci della Memoria". Pompeo with the uniform of the Italian aviation. To not all the people who lost their lives in Borgo San Giovanni, i 3e boys at the time, they managed to give back the voice with a poem, some, like the sons of Giuseppe Selleri in the above poem, are quoted internally to that of the father. He was saved therefore only the little Pompey who went to live with his aunt Linda and the daughter who was also fatherless. The difficulties of poverty after the war they led Linda to entrust her daughter to a college in Assisi and Pompeo to one in Collestrada ... so she could study and then become non-commissioned officer of the Italian aviation ... "Peace planes" and a large family arrived for him. He lived in Perugia and Rome but was returning for every 25 April, ours, that of '44, and it almost always told of what had happened that day. About ten years ago, suddenly, he received the news, later revealed to be incorrect, of the discovery of the tomb of one of his brothers, whose body had never been found in the rubble of San Giovanni, in the cemetery of Preggio. Pompeo wept for a long time for the emotion of the news showing that pain that had never left him. At the beginning of this year Pompeo died, but he did not really leave his Umbertide because it is here that he wanted to go back to rest, close to Giuseppe ad Assunta and his brothers. Below the memory of the other victims: by clicking on the names below you can access the direct page of the existing "items": Arrunategni Rivas Mario Baiocco Giulia Banelli Hamlet Neodemia jars Barn Owl Antonio Bartoccioli Giulia Bebi Luciano Bebi Mari Sunday Bendini Annunziata Bernacchi Benedetto Boldrini Cecilia Boldrini Elisabetta Boncristiani Rosa Borgarelli Armede Gina Borgarelli Ester Ciocchetti Fausto Ciocchetti Giuseppe Cozzari Veronica Cozzari Virginia Ferrari Alfonso Galmacci Realino Gambucci Ubaldo Leonessa Licinius Marianna manuals Battlements Argentina Mischianti Angelo Mischianti Ida Monfeli Galeno Palazzetti Angela Panbuffetti Giovanna Pierini Giuseppe Porrini Assunta Renato Bengasina Renga Rosalinda Renzini Maria Romitelli Rina Mario Scraps Selleri Giuseppe Tognaccini Delma Tognaccini Zarelia Violins Lina Villarini Bruno and finally the animals of the village ... Images comparing the current Piazza 25 aprile with the side buildings of Borgo San Giovanni. after the bomardamento The square is now used as a parking area for cars in the cobblestones it is reconstructed of the position of the inhabited areas. A panel with the reconstruction of the old Umbertide before the bombing was installed at the entrance to the square. Source: - AAVV (Mavarelli-Pascoli state middle school): "Voices of Memory", Municipality of Umbertide and S. Francesco Cultural Center, Umbertide 2002. -Mario Tosti: " Beautiful works. Information, documents, testimonies and images on life and death events that occurred in the Municipality of Umbertide during the Second World War . Edited by Mario Tosti. Municipality of Umbertide, 25 April 1995. - Photo: Francesco Deplanu - Photo: historical photos of Umbertide from the web and from various private archives to which we applied the " umbertidestoria " watermark in this way we try to avoid that further disclosure on our part favors purposes that are not consonant with our intentions exclusively social and cultural. - Photo: http://www.umbertideturismo.it/content/download/292776/3109285/file/Relazione%20comune%201952.pdf http://www.umbertideturismo.it/content/download/292776/3109285/file/Relazione%20comune % 201952.pdf Voices of Memory The bombing of Umbertide took place on 25 April 1944; 12 Kittyhawk of the SAAF allied aviation did not hit the bridge over the Tiber which was their goal to cut the retreat to the German troops and instead hit the town, the "Borgo San Giovanni". 70 died, people "evacuated" from the city also because there were two more bombings in the following period. In 2002 due to the sensitivity of Professor Mariella Migliorati, of other teachers, together with Eng. Mario Tosti, the pupils of the 3e of the middle school of Umbertide told in poetry the lives of the 70 broken lives, first counted in 74, in a small book published by the Municipality of Umbertide: "Voices of Memory". A kind of little "Spoon River" ... only with real pain. For some time now, however, it was a William Thayer, interpreter, history enthusiast and webmaster who gave it digital life who from 1997 to 2004 visited Italy and stopped several times in Umbertide (recounting it in his diary ), being struck by the bombing. Having come into possession of the book, he published everything online with the permission of the Municipality of Umbertide: http://penelope.uchicago.edu/Thayer/I/Gazetteer/Places/Europe/Italy/Umbria/Perugia/Umbertide/Umbertide/_Texts/Voci_della_Memoria**/home.html Building above the current Via Mancini hit by the bombs on 25 April 1944 This is the list of the people who died there: Pupils Pierucci Antonio aged 45, Arrunategni Rivas Mario aged 37, Baiocco Giulia 17 years old, Anna Banelli years old 3, Banelli Hamlet of years 36, Barattini Neodemia of the 60s, Barn owl Antonio of years 82, Bartoccioli Giulia aged 38, Bebi Elda aged 45, Bebi Luciano 16 years old, Bebi Mari Domenica aged 33, Bebi Tecla 32 years old, Bendini Annunziata aged 17, Bernacchi Anna Maria aged 2, Bernacchi Benedetto of years 84, Bernacchi Raffaele aged 5, Bernacchi Valentino aged 4, Boldrini Cecilia of years 24, Boldrini Elisabetta aged 52, Boncristiani Rosa 88 years old, Borgarelli Armede Gina 25 years old, Borgarelli Ester 75 years old, Cambiotti Amalia 6 years old, Goats Assunta 43 years old, Ceccarelli Marianella 14 years old, Ceccarelli Rosanna 20 years old, Ciocchetti Fausto 22 years old, Ciocchetti Giuseppe 15 years old, Cozzari Veronica 45 years old, Cozzari Virginia 21 years old, Domenico Donnini 1 year old, Donnini Gianfranco 3 years old, Fagioli Franca 10 years old, Ferrari Alfonso aged 74, Galmacci Realino aged 54, Gambucci Ubaldo 49 years old, Grandi Giuseppina 14 years old, Leonessa Licinio 20's, Marianna Manuals from the 80s, Massetti Anna Paola 3 years old, Mastriforti Marianna 67 years old, Mazzanti Graziella 3 years old, Merli Argentina aged 24, Mischianti Angelo 84 years old, Mischianti Ida 18 years old, Monfeli Galeno 35 years old, Montanucci Felicia 37 years old, Mortini Elvira 18 years old, Orlandi Augusta 57 years old, Palazzetti Angela of years 31, Palazzetti Assunta aged 11, Panbuffetti Giovanna 13 years old, Pierini Giuseppe 12 years old, Pierotti Giulia 49 years old, Porrini Assunta 62 years old, Renato Bengasina 32 years old, Renga Rosalinda 36 years old, Renzini Maria 31 years old, Romitelli Rina 18 years old, Luisa Rondini age 79, Sabbiniani Leopolda 46 years old, Santini Letizia 64 years old, Mario Scartocci 22 years old, Selleri Angelo 2 years old, Selleri Giuseppe 41 years old, Selleri Pasquale 4 years old, Tognaccini Delma 36 years old, Tognaccini Zarelia from the 80s, Violins Lina 22 years old, Villarini Bruno 25 years old. Of this attempt to bring back the "voice", that's life, of our Umbertidesi who died in the bombing we invite you to read the verses dedicated to Giuseppe Selleri who died together with his wife, Assunta Caprini, and his two sons, Pasquale aged 4 and Angelo aged 2 leaving the only surviving son Pompeo why the bombs fell on his way to elementary school: GIUSEPPE SELLERI We had recently moved to Umbertide from Preggio: we had three young children one close to other . . . And my wife could so rely on help of the sisters. TO Preggio I was postman, here I found work at Miccioni, better known as Paris, And I was a shoemaker in the shop near the "Fornaci". Ours was an unfortunate choice: we went to meet a destiny which could not be more tragic. that morning, my wife Assunta, back from school where he had accompanied his eldest son, she stopped at the "Pompone" to fill the jugs. . . THE small were still a read . . . I was at work. Although we were in different places L' death scream of the bombers reached us all. . . L' black shadow has enveloped i our children saving only one. . . May other planes come for him; may airplanes of peace fly for him!