Cage* ‎– Il Treno Di Cage / Cage's Train / Le Train De Cage

Grafis Edizioni ‎– 2, Fylkingen Records ‎– 2
Cassette, Album, C60, Book


A "Alla Ricerca Del Silenzio Perduto"
B "Alla Ricerca Del Silenzio Perduto"



This is a joint release between Grafis and Fylkingen Records.
83 pp book with cassette encased on front cover.
Includes in three languages (english, italian and french), Tito Gotti's letter to Cage (March 77), Cage's letter to Gotti (December 77), a short interview with Gotti, and 45 pages of b/w photographs by Nino Monastra of the three events for "prepared trains".
Printed by Grafis Industrie Grafiche Bologna, Italy, February 1979.
Tape duplication MTB Bologna.


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May 27, 2011
Born from a proposal by Tito Gotti, then director of the "Feste Musicali" concert series in Bologna, Italy, Il Treno di Cage was a special "Music Circus" conceived for three train tracts (Bologna-Porretta, Bologna-Ravenna, Ravenna-Rimini).
Cage gave it the title "Alla ricerca del silenzio perduto" with the subtitle "3 excursions in a prepared train, variations on a theme by Tito Gotti by John Cage with the assistance of Juan Hidalgo and Walter Marchetti."
Cage's project, as detailed in his letter to Gotti dated december 1977, was that "in the station from which the first departure was made, an orchestra of any 23 instrument having three conductors (Marcello Panni, Juan Hidalgo and Walter Marchetti)" would play his composition Etcetera for the hour preceding the departure. The musicians would then join the public, taking the trip on the train. "They would distribute themselves more or less equally (or according to the needs of their repertoires), solo or ensemble (e.g. Hidalgo Marchetti need the presence of Esther Ferrer inorder to perform as the ZAJ group) in the train cars at the time of departure (being the last to board the train). Once there they would play from time to time any pieces they knew by heart".
Each train car carrying the public was prepared with two loudspeakers, A and B, A receiving signals from microphones picking up noise esterior to each car, and B receiving signals from microphones picking up noises from the interior of each car. At any stop in a train station, this sound system was switched to two other speakers placed exteriorly on the top of each car, C receving signals from a supply of cassettes (prepared by Hidalgo and Marchetti from sounds environmental to the RR Station in Bologna) played on any one of a number of cassette machines placed in a freight car central to the train (and open to the public). In the same freight car, was available another set of cassettes "prepared by Hidalgo and Marchetti from recordings of the region local to the stop representing the people living there, their work, their music, the noises and sounds, "musical" or not, of their daily life, week-days and Sun-days." These cassettes were transmitted to speakers D. The public was informed of its freedom to start and stop and change cassettes during the stop in the station.
Welcoming the train in each station along each tract, were "as many as live performing musicians or groups of musicians as are willing to play simultaneously." "Groups genuinely of the neighborhood of the station, representing the life of the places and its culture". At the schedule time of departure from the station, "the performers from the community willing to go aboard the train to play, sing or dance, were welcomed to do so."

Pictured in the book performing on the train is Demetrio Stratos, who can clearly be heard in an excerpt on side B. Also pictured are Esther Ferrer, Marchetti, and a number of classical musicians, instrumental folk groups and choirs, but no credit list is given on the book about partecipating musicians at the events, and about which ones can be actually heard on the cassette, that was presumably a mixdown from the three train happenings made by Hanson and Monastra.