|1||Huellas Entreveradas (Intertwined footprints)||14:35|
|2||La Baballe du Chien Chien à la Mé-Mère (The Ball of the Old Lady’s Dog)||11:18|
|3||Deux Dents Dehors (Two Teeth Outside)||4:00|
“GRM veteran Beatriz Ferreyra is carrying Pierre Schaeffer’s utopian musique concrète into the future... Ferreyra manages to occupy an idiosyncratic position where she almost stands alone. Her pieces are possessed by an almost phantasmagoric intensity.” - The WIRE
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 has composed commissioned works and performed around the world for some sixty years.
From 1965 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 set of wooden dolls: inside each is another one, which contains another, and so on.
These three signature pieces use snippets of speech which are gradually deconstructed to create abstract textures, interweaving vocals with percussive and sustained noises. La ba-balle du chien-chien à la me-mère (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 (2007) is a pun on Bernard Parmegiani’s piece Dedans Dehors (1977), composed for his birthday. It takes snippets of lively vernacular and processes these into complex patterns of unintelligible and unrecognisable speech sounds, in sustained or percussive sequences. Heullas Entreveradas (Intertwined footprints) (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.