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FERREYRA, BEATRIZ - untitled

Format: CD Label & Cat.Number: INA GRM INAG 6030 Release Year: 2011 Note: four quite new pieces by this legendary female composer from Argentina (*1937) who worked with PIERRE SCHAEFFER in the 70's Price (incl. 19% VAT): €13.00 Warning: Currently we do not have this album in stock! More Info "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)." [label info] www.inagrm.com "A masterclass in the bewildering and jaw-dropping possibilities of tape-based composition is given in these two releases from the Argentinian electro acoustic composer Beatrix Ferreyra. The latest archival release from Recollection GRM compiles two hard-to-find short works from the late sixties with two longer pieces lifted from her eponymous album of 2012, all of which are a marvel to behold regardless of their availability and demonstrate a consistency in Ferreyra's ear across the decades. 1967's 'Demeures aquatiques' (Aquatic Mansions) sets out her stall of sounds that, like Tom Lawrence's The Peregrine at the head of this column, seek to describe physically altered states – such as how solids turn to liquid to and then to gas. Here, metal sheets and glass rods provide the sound matter Ferreyra then manipulates into rich, sinking forms and busy bubbling textures rising to reach fresh sprays of air. Transformation of an alchemical variety is perhaps more explicitly explored on 2009's 'Un fil invisible'. Sudden zaps - as if igniting a process - give way to a sense of tunnelling, its fervent travel slowly turning to landslide as gracefully as simmering turns to boil, punctuated by sharp hits. Later electronic stormy stabs and meanderings suggest a cooling phase, both the imagined matter and listener forever changed." [The Quietus]