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Enore ZAFFIRI
Musica per un anno (1968)
DIE SCHACHTEL
DS17 CDbox 2008
The seminal project "Musica per un Anno” (Music for One Year, 1968) was composed and recorded in 1968. Based on a cycle of 360 days, it was conceived as a possible sound track for ambients: the sound events change imperceptibly but continuosly, in relation to months, days, hours and minutes. Every instant of time has its unique music, which merges with the light and the air of the ambient. As this music develops over time, with no clear beginning or end, every minute of it is "important", when listening to it. A masterpiece.
Throughout his life Enore Zaffiri has dedicated himself to the study of extended time duration in music, from a mathematical and geometrical standpoint. Early in his career, it became evident to him that electronic music was able to open infinite possibilities for this type of experiments. As early as 1964, Zaffiri started to use self-built and modified electronic instruments in order to find a new musical perspective based on a structural principle derived from Euclidean geometry. From this principle he was able to determine the various sound parameters and both the formal and spatial dimensions of his compositions.
Musica per un anno (1968)
DIE SCHACHTEL
DS17 CDbox 2008
The seminal project "Musica per un Anno” (Music for One Year, 1968) was composed and recorded in 1968. Based on a cycle of 360 days, it was conceived as a possible sound track for ambients: the sound events change imperceptibly but continuosly, in relation to months, days, hours and minutes. Every instant of time has its unique music, which merges with the light and the air of the ambient. As this music develops over time, with no clear beginning or end, every minute of it is "important", when listening to it. A masterpiece.
Throughout his life Enore Zaffiri has dedicated himself to the study of extended time duration in music, from a mathematical and geometrical standpoint. Early in his career, it became evident to him that electronic music was able to open infinite possibilities for this type of experiments. As early as 1964, Zaffiri started to use self-built and modified electronic instruments in order to find a new musical perspective based on a structural principle derived from Euclidean geometry. From this principle he was able to determine the various sound parameters and both the formal and spatial dimensions of his compositions.
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