When in January 2005, at the end of the moral report of the President Endrizzi during the annual membership meeting, he was given the word because it illustrates the artistic proposals this year, announced Sergio Maccagnan not want to envisage any programs because he had decided to retire and that this task would fall to others. Among the general astonishment, in an atmosphere that had suddenly felt almost physically suspended while an application full of anxiety about the meaning of what was happening, someone left a round of applause that spread quickly. How long it lasted? For a long time, but never enough to be able to pour into the huge amount of affection, gratitude, respect and friendship that everyone carries inside her and now wanted to get out impetuously. Clearly demonstrates that an important cycle of life for all it was closed.
At the dawn of a new day we started our new journey with Master Paolo Maccagnan. Son of Sergio and Carla, since little has breathed the music in the family taking on the artistic genius and making it part of their personality. The more experienced among us to ensure that he found many similarities with his maternal grandfather, Oreste Franchi, an oboist who played in the orchestras of the great (including Carlo Maria Giulini) and that at the dawn of life of the choir, he served nobly to "give a hand” to the director-in-law”. His imprint has been (and is handed down), especially in the song "Quattro cavai che trota”, on which the choir worked with a meticulousness that since then, when they want more accurate to describe the process of learning a piece, they spoke about the "method Franchi ".

Well, it sticks to the philosophy of his father Sergio, who has consistently worked hard to recognize the chorus of inspiration to people that many times artistic dignity denied by the elders of the so-called "classical music" Italian, Paolo (who is a pianist by training) has started without delay to work with the skill of the forger and the accuracy of the sculptor, with the clear intention not to squander the technical experience gained so far, to give the footage as a fitting expression to their musical sensitivity and increasing the already considerable wealth of songs in the possession of the choir. The result is Monti Pallidi - according to many - very compact in sound performance, effective in representing all shades of expression, able to communicate well in their musical soul and interact profoundly with those who follow him and listen.