I’m not really sure when I first heard Beatriz Ferreyra’s music. My best guess would be in the early to mid 2000s when I was working alongside the curatorial team at Liquid Architecture. Given the focus of the festival at that time, GRM and musique concrète more generally was very much a point of focus.
That said, it wasn’t until this decade that her work was sharply in focus for me (and I am guessing a great many others). In 2017, I had the great pleasure to meet Beatriz in Braga, where we both were performing as part of the excellent Semibreve Festival. Subsequent to that I invited her to perform in Australia and we also had the pleasure to send time together this year in Rio during the Novas Frequencies Festival. Across these meetings, I have come to realise the incredible focus, generosity and vision that Beatriz has maintained across her life in sound.
Beatriz Ferreyra is one of only a few female concrète composers who were active across the second half of the 20th century through to today. Her work, which is still very much an active investigation, is simultaneously complex and elegantly simple. Often drawing upon singular object of focus, Ferreyra’s use of tape and other forms of manipulation radically reconfigure her chosen sound materials, opening them outward.
Canto+, collects works from almost 40 years of her life in music and pays homage to her unerring interests in dynamism, rhythm, voice and the morphic potentials of concrète materials. Two of the works are also dedication to close friends; Jingle Bayle’s (to François Bayle) and Au revoir l’Ami (to Bernard Bashet). This edition picks up where Echos+ leaves off and opens her sound worlds even further.