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The music of Beatriz Ferreyra bears a magnetic force, which generates a truly recognisable style that could be defined as a unique sense and intuition for sound. Whether in her early works (“Médisances”, “Demeures aquatiques”) or in the more recent ones featured here, one can easily perceive a freedom-loving musical personality.
A pioneer alongside Pierre Schaeffer, in the 50s and 60s, she worked on the development of the famous Solfège de l’Objet Sonore (Music Theory of the Sounding Object) before freeing herself from the institution to focus on creating a challenging and independent music.
(Christian Zanési & François Bonnet, Paris, 2015)
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℗ 1967, 1968/69, 2009, 2011 INA-GRM
© Recollection GRM 2015
Released in association with Editions Mego
Courtesy of INA-GRM
Recollection GRM
The music of Beatriz Ferreyra bears a magnetic force, which generates a truly recognisable style that could be defined as a unique sense and intuition for sound. Whether in her early works (“Médisances”, “Demeures aquatiques”) or in the more recent ones featured here, one can easily perceive a freedom-loving musical personality.
A pioneer alongside Pierre Schaeffer, in the 50s and 60s, she worked on the development of the famous Solfège de l’Objet Sonore (Music Theory of the Sounding Object) before freeing herself from the institution to focus on creating a challenging and independent music.
