Senderos del Olvido (14’06’')
Beatriz Ferreyra was a member of the group of musicians, sound designers, scientists and engineers who, at the Groupe de Recherche Musicales (GRM) studios, established the operating and theoretical principles of the musique concrète, the seminal electroacoustic music movement led by Pierre Schaefer, the foundations of which included the use of recorded sounds, the defense of the potential of any sound to become the material in a musical composition, and the liberation of the listening of these recorded sounds from the relationships of causality.
In the 1970s, Ferreyra began assembling her own personal studio where she gathered several players and filters for magnetic tapes. Her home in France’s rural countryside, where she lives alone, is also her studio, which in the meantime progressively began including digital media. Itis there that she continuously delves into the properties, matters, energies and affectional spaces which exist inside sounds.
Ferreyra’s compositions don’t start from abstract models, but instead from intuition and inspiration that come from the sounds themselves, from the imagination of their intimate and infinite depths. In accordance with the composer’s remaining works, Senderos del Olvido waves itself from the extremely precise combination and articulation of the small structures created with short sounds, with longer sounds, as well as their interactions, movements, dynamic and polyphonic complexities. In it reverberates, on one hand, an effort for systematization in the characterization of sounds in a constant expansion and the deliberate obliteration of rules that might dull the access to sensation, breathing and energy. Ferreyra’s is so much more the alchemic mixture than the scientific method. She projects herself in a solidary synthesis between the extroversion of confrontation with sonic matter and the introversion of dreaming its interior, between analytical subjugation and the intimate and inscrutable beauty.
Senderos del Olvido is then both the path and the act of walking it. Landscapes and colours change, the gaze alternates between the horizon and the observation of small details, the beaten terrain and the gradients change, different constraints of our passage appear, which solicit from us differentiated speed and agility, as we free ourselves, forget the more superficial and normalized relationships with sounds and we immerse ourselves in Beatriz Ferreyra’s musical world.
by Pedro Rocha
Beatriz Ferreyra worked at O.R.T.F. (French National Television), as a member of the Group of Musical Research (G.R.M), under the leadership of Pierre Schaeffer (1963-70). She contributed to his book «Traité des Objets Musicaux» (1966), and participated in the recording of excerpts for his «Solfège de l’Objet Sonore» (1967) (one of two assistant composers allocated for the composition of the audio files). Since 1970 she is a freelance composer. In 1975, became a member of the «Collège des Compositeurs» created by the G.M.E.B. (Group of Electroacoustic Music in Bourges). Since 1967 she has had worldwide commissions for concerts, festivals, film and TV music, theatre, video. She writes articles, gives seminars and lectures, and has received several composition prizes since 1975. In 2014 she was elected as an Honorary Member of the CIME/ICEM (International Confederation of Electroacoustic Music). Beatriz Ferreyra releases her first album of new material in a decade through Persistence of Sound in May 2020.