La Caccia (da Arpocrate Seduto sul Loto)
02. Parte Seconda 21:25
Distributed By – Dischi Ricordi S.p.A.
Recorded At – Fono Roma, Milano
Art Direction – al.sa sas
Engineer – Ambrogio Ferrario, Piero Bravin
Other [Director Of Series] – Gianni-Emilio Simonetti
Photography – arc/do
Technician [Technical Assistance] – Juan Hidalgo
Recorded at Fono-Roma, Milano.
Includes printed inner sleeve with score
Distributed by Dischi Ricordi, Milano.
For the first half of Marchetti's life, he was, in his words, "condemned" to work at various bread-and-butter jobs, which included: grape harvester, brick-layer, saddler, wine-seller, metal-shearer, turner, frame welder, and an ample "etc." besides. In music he is self-taught. His numerous attempts to carry out serious musical studies came to nothing, he says, due to feelings that the "establishment" is a complete farce.
Among the major events of his creative life, he cites his meeting with Bruno Maderna in 1955. It was through Maderna that he came to absorb the decisive influence of John Cage's concepts of emancipated sound and came to formulate his position which he calls Eventology.
In the early '60s he moved to Spain and founded the ZAJ group with his close friend and major collaborator Juan Hidalgo. Together they realized "an infinity of projects in and out of music." His works have close aesthetic ties with the activities of Fluxus. He incorporates a great deal of concrete sound-material into his compositions, such as recordings of traffic noise or the sound of stones dropped down wells, and is known in the world of visual arts for his installations and sculptural modifications of pianos, i.e. covering them with small lights, or encasing them in red brick. He has performed and exhibited in dozens of cities throughout the world.
God, this has to be the weirdest record in the Cramps label roster. Two sidelong pieces scored for bird whistles (and a few other, harder to identify, concrète sounds). Sparse, kind of empty, and extremely eerie (especially when what sounds like an angry goose enters in..). Not unlike Robert Ashley's Automatic Writing, this is music for late night listening - when you are too tired to really care for any such earthly concerns as "let's play something more, uh, conventional and driving"..
Why on Earth a besuited Walter Marchetti can be seen washing his feet in what looks like a chamberpot on the back cover is anyone's guess, but hey, it's the Cramps label, you know..