The Argentinian composer Beatriz Ferreyra, initiated her studies of music in Paris with Nadia Boulanger all the way back in 1962. A year later she studied under Edgardo Canton, respectively as part of Groupe De Recherches Musicales (GRM) in France and RAI in Italy. This stint resulted in working at GRM in the years from 1963 to 1970, where she participated in the production of recordings to be used as part of Pierre Schaeffer’s “Solfège de l’objet sonore”. She furthermore played her part as a tutor during GRM training periods and gave lectures at the courses in Conservatoire national de musique de Paris.

Since 1970, she’s been working as a composer on her own and among further accolades count instrumental researches in collaboration with Bernard Baschet, becoming a member of Collège des compositeurs created by the Groupe de musique expérimentale de Bourges (GMEB), Dartmouth College in Hanover, USA where she developed music for musicotherapy in the period of 1973-77.

As already indicated, Beatriz Ferreyra holds an extremely long-running artistic ouevre and has honed her skills within the discipline of Musique Concrète. This can be heard to the most extreme on “GRM Works”, which consists of four very different compositions. Obviously different simply due to the fact of two tracks stem from he early period and the other two has been conceived in recent years.

“Demeures aquatiques” refers to the interplay between the tide and ebb, the unexpected interactions between fluid and solid mass.
Incredible sound structures shifts both slowly and rapidly between that of thudding and flowing nature. Thus, Ferreyra perfectly illustrates her intention of portraying the above mentioned conceptual thoughts.

“Médisances” is just that. The french word translates into “slander” or gossiping if you will. With her fine-tuned abilities for translating ideas into an embodied musical piece, this absolutely carries all of the elements you would imagin to constitute gossip. Low muttering and two-faced communication increase gradually over two individual segments, the latter reaching almost unbearable volumes only to abruptly be brought to a complete halt as a loud voice declares so. I’m perfectly aware of the fact that this is not to be taken litterally but in terms of describing the matter, the composition is spot on.

“Un fil invisible” and “Les Larmes de l’inconnu” are awesome too but I’ll leave it up to you and your imagination to figure out, exactly how these compositions actually sound until the album is released on April 13th.