Beatriz Ferreyra was born in Cordoba, Argentina, and studied piano with Celia Bronstein in Buenos Aires. She continued her study of music with Nadia Boulanger in Paris, and Edgardo Canton, Earle Brown and György Ligeti in Germany. In 1963 she took a position in the research department of the Office de Radiodiffusion Television Francaise (ORTF), working with the Groupe de Recherches Musicales (GRM) directed by Pierre Schaeffer. She assisted with Henri Chiarucci's and Guy Reibel's Rapport entre la hauteur et la fondamentale d'un son musical, published in 1966 in Revue Internationale d'Audiologie and Pierre Schaeffer's Solfège de l'Objet Sonore. During this time, she also lectured at the Conservatoire National Supérieur de Musique de Paris. She worked with Bernard Baschet and his Structures Sonores in 1970, and served residencies in electronic music with Dartmouth College in 1976 and in 1998.
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RM 4210LP
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"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 in Rio during the Novas Frequencies Festival. Across these meetings, I have come to realize the incredible focus, generosity and vision that Beatriz has maintained across her life in sound. Beatriz Ferreyra is one of only a handful of 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. UFO Forest + collects together works from both her practices in tape-based music and also computer-based works. The pieces featured here epitomize her prowess in create dynamically rich sound works that are effortless in their sense of otherworldliness. Beatriz Ferreyra has created a sonic terrain all her own, and here lies the proof." --Lawrence English
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RM 4136LP
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Argentine born, French based composer Beatriz Ferreyra has played a hushed but utterly critical role in the development of musique concrète since its early days. Working alongside Pierre Schaeffer during the writing of Solfège de l'Objet Sonore, Ferreyra left GRM to pursue her compositional research outside the confines of the institution. Canto+, one of only a few collections of her work available on vinyl, collects work across four decades and demonstrates her immense capacities both as a composer and a sonic explorer.
From Lawrence English: "... 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 realize 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.
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RM 4114LP
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Argentine born, French based composer Beatriz Ferreyra has played a hushed but utterly critical role in the development of musique concrète since its early days. Working alongside Pierre Schaeffer during the writing of Solfège de l'Objet Sonore, Ferreyra left GRM to pursue her compositional research outside the confines of the institution. Echos+, one of only a few collections of her work available on vinyl, collects three of her most affecting pieces; each of which explore questions of mortality and the afterlife.
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."
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