Argentine electroacoustic composer Beatriz Ferreyra describes each of the pieces included on GRM Works: Demeures aquatiques (1967): “This electroacoustic piece, articulated into two clearly distinct parts, draws its sound source from the classical and unorthodox instruments – metal sheets, glass rods, etc. – invented by the Baschet brothers. I wanted to show the contrast between the rhythmic repetition of a sounding object, which gives out a feeling of fixity, an electroacoustic flavour and the continuous re-creation of the same sensation through similar yet not identical sounds.” Un fil invisible (2009) For Christine Groult: “This piece was inspired by the various stages of Medieval Alchemy. The alchemical process is one of transformation, whose actual subject is the alchemist himself. Here, the process is inextricably tangled with the transformation of sounds and the very structure of the piece.” Médisances (1968/69): “This electroacoustic piece for 4 channels was produced by manipulating such items as orchestral instruments, a mouth bow, breath and some unexpected technical defects.” Les Larmes de l'inconnu (2011): “This is the first part of a work inspired by the Qabalists Carlos Suares (consciousness-energy), Rivka Cremici (charm of the mystic energy) and Shinta Zenke (dazzling Hebrew calligraphy) to whom I dedicate this music. Through its letters-numbers, the Qabalah expresses three different levels of ‘primordial equation of the universe’: the level of the archetype, that of the event and the incarnation, and the universal and cosmic level… I would like to thank the wonderful flutist Hernan Gomez for his kindness and his musicality during the recording.” “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 and François Bonnet, Paris, 2015.