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Beatriz FERREYRA
“Senderos de luz y sombras”
Senderos de luz y sombras (Paths of Light and Shadows) – Commissioned by the French State for INA grm – 2016-2020
In memoriam Bernard Baschet, Bernard Parmegiani and Carlos Pellegrino.
A 16-channel piece inspired by astrophysics, the mystery of the pre-Big Bang era and some of the uncanny motions of the unconscious mind, where strangeness meets the ordinary.
The themes that permeate Senderos de luz y sombras simultaneously engage the overwhelming, unyielding immensity of the beginnings of the universe and the forces at work in the unconscious mind. What connects these themes are the dark energies operating outside our knowledge, far beyond the conceptual scope of our limited thinking. How to convey all this and build music from these concealed forces? What Beatriz Ferreyra achieves, thanks to her trademark virtuosity, is precisely to summon energies, to bring in the raw forces that govern the laws of Acoustics, so as to trigger sonic storms as one would call the rain, to transform all sound matters into the core of a ritual. Indeed, Beatriz Ferreyra addresses the mind-body reconciliation, for in providing this unique sound and musical experience, with a rare sensitive intensity, the great composer simultaneously invites us to engage in a personal experience.
François Bonnet, Paris, 2021
26,00€
Out of stock
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Beatriz FERREYRA
“Canto+”
From Lawrence English
I’m not really sure when I first heard Beatriz Ferreyra’s music. My best guess would be in the early to mid 2000s when I was working alongside the curatorial team at Liquid Architecture. Given the focus of the festival at that time, GRM and musique concrète more generally was very much a point of focus.
That said, it wasn’t until this decade that her work was sharply in focus for me (and I am guessing a great many others). In 2017, I had the great pleasure to meet Beatriz in Braga, where we both were performing as part of the excellent Semibreve Festival. Subsequent to that I invited her to perform in Australia and we also had the pleasure to send time together this year in Rio during the Novas Frequencies Festival. Across these meetings, I have come to realise the incredible focus, generosity and vision that Beatriz has maintained across her life in sound.
Beatriz Ferreyra is one of only a few female concrète composers who were active across the second half of the 20th century through to today. Her work, which is still very much an active investigation, is simultaneously complex and elegantly simple. Often drawing upon singular object of focus, Ferreyra’s use of tape and other forms of manipulation radically reconfigure her chosen sound materials, opening them outward.
Canto+, collects works from almost 40 years of her life in music and pays homage to her unerring interests in dynamism, rhythm, voice and the morphic potentials of concrète materials. Two of the works are also dedication to close friends; Jingle Bayle’s (to François Bayle) and Au revoir l’Ami (to Bernard Bashet). This edition picks up where Echos+ leaves off and opens her sound worlds even further.
22,00€
Out of stock
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Beatriz FERREYRA
“Echos+”
After a standout Recollections GRM side in 2015, Argentina’s Beatriz Ferreyra places more half a century of avant-garde knowledge at the service of this utterly enchanting new opus for Room40, ranging from elegiac vocal works to apocalyptic concrète composition... From Lawrence English: “I’m not really sure when I first heard Beatriz Ferreyra’s music. My best guess would be in the early to mid 2000s when I was working alongside the curatorial team at Liquid Architecture. Given the focus of the festival at that time, GRM and musique concrète more generally was very much a point of focus. That said, it wasn’t until this decade that her work was sharply in focus for me (and I am guessing a great many others). In 2017, I had the great pleasure to meet Beatriz in Braga, where we both were performing as part of the excellent Semibreve Festival. Subsequent to that I invited her to perform in Australia and we also had the pleasure to send time together this year in Rio during the Novas Frequencies Festival. Across these meetings, I have come to realise the incredible focus, generosity and vision that Beatriz has maintained across her life in sound. Beatriz Ferreyra is one of only a few female concrète composers who were active across the second half of the 20th century through to today. Her work, which is still very much an active investigation, is simultaneously complex and elegantly simple. Often drawing upon singular object of focus, Ferreyra’s use of tape and other forms of manipulation radically reconfigure her chosen sound materials, opening them outward. ‘Echos’ for example is sourced entirely from recordings of her niece who was killed in a car accident and ‘The Other Shore’ (composed as a response to the Tibetan Book Of The Dead) uses only percussion. Echos+ brings together three of Ferreyra’s most engaging compositions. Each of the works are deeply personal, but transcend that position, effortlessly welcoming us inside them. They collectively chart out a broad framework that not only defines her philosophical interests as a composer, but also marks out critical moments in her creative and technical approaches; shifting from her roots in tape music to more digital approaches.
26,00€
Out of stock
LP
Beatriz FERREYRA
“Huellas Entreveradas”
Beatriz Ferreyra has been at the forefront of electroacoustic music composition since 1963 when she joined the Groupe de Recherches Musicales as one of Pierre Schaeffer's research assistants. She is one of very few composers still performing who was instrumental at the beginning of Schaeffer's theories of sound objects and reduced listening techniques. She continues to compose commissioned works and perform around the world in a career that has spanned some sixty years.
From the 1960s until 1997 Beatriz composed tape pieces for multi-speaker performance using three or four Revox reel-to-reel tape machines at each concert. She now works on Pro Tools with GRM plug-ins but still uses the Revoxes for certain tape techniques that can't be achieved with computer software. Beatriz discusses her music in the Schaefferian way, as a series of impulsions [sharp attacks], iteratives [repetitions], percutés [percussive hits], and trames [sustains] whilst also using her own onomatopoeic descriptions such as 'schkllang, prrrrwip, ferrrwisssssh, takatak' communicating sounds freely and directly as she hears them.
Her music is about movement; the movement of sounds around a performance space, or the positioning of sounds as point sources within the illusory stereo field between loudspeakers. It is also about movement within individual sounds, where each one is a composition of different shifting components and a 'little structure' in its own right, with its own character. She likens her sounds to a Russian doll, inside each is another one, which contains another, and so on.
During her time at Schaeffer's studios, Beatriz developed her own research project, Objets Construits, (constructed objects). These are layers of short sounds, chords made of different noises. Each layer is isolated on a separate piece of tape to analyse the relationships between components and the effect of minimal alterations in pitch, dynamics or timing, to the overall perception of the chord. This was a way of thinking about sound slowly and patiently, of taking time to experiment, analyse and contemplate each manipulation, that is lost in the speedy world of vast ready-made digital sound libraries and the immediacy of save and recall buttons.
In Beatriz's work, small, playful sounds interact like chattering creatures and merge into vast cavernous and mysterious immersive landscapes. These three signature pieces use snippets of speech which are gradually deconstructed to create abstract textures, interweaving vocals with percussive and sustained sounds. Small, playful sounds interact like chattering creatures and merge into vast cavernous and mysterious immersive landscapes. La Baballe du Chien Chien [The doggie's little ball] (2001) is a playful take on the way that we speak in a childlike way to pets. A brief narrative at the start invites the listener into this 'pet speak' scene, with the sound of footsteps and chatter. These gradually crescendo and morph into a cacophonous swirling explosion. Deux Dents Dehors [two teeth sticking out] (2007) is a pun on Bernard Parmegiani's piece Dedans Dehors [Inside Outside] (1977), composed for his birthday. It takes snippets of lively vernacular and processes these into complex patterns of unintelligible and unrecognisable speech, in sustained or percussive sequences and glissandi. Huellas Entreveradas (2018) is a new commission that transforms vocal sounds into choral textures which fragment, granulate and transform into continuous whorls and tidal washes interspersed with her trademark short silences.
23,00€
Out of stock
CD
Beatriz FERREYRA
“La rivière des oiseaux”
“Les rivières du rêve” (1998-2000), “Médisances” (1968), “L’orvietan” (1970), “Vivencias” (2001), “Cantos de Antes” (2002).
12,00€
Out of stock
CD
Beatriz FERREYRA
Argentinian composer born in 1937, Beatriz Ferreyra is living and working in France since the sixties. She is famous for her incredible work of all sound examples for the Pierre Schaeffer’s “Solfège de l’objet sonore”. She is also a great tape player. “Dans un point infini” (2005), “L’autre rive” (2007), “Les larmes de l’inconnu” (2011), “Un fil invisible” (2009).
15,00€