Tip! The compositions on this album, written between 2022 and 2024, form a conceptual suite and an observance of the mental dances that we construct to understand acts of passage; the ways that we commune, memorialize, and carry symbols back into the world beyond representation. To this end, The Head as Form’d in the Crier’s Choir engages two references to the ancient Greek myth of Orpheus: Rilke’s Sonnets to Orpheus, a collection of poems from 1922, and Monteverdi’s L’Orfeo, an early baroque opera from 1607.
The Head as Form’d in the Crier’s Choir follows on from the last two albums, which were attempts to begin bridging the gap between the fixed electroacoustic pieces that emerge in Davachi’s home studio and her slow-paced, somewhat open-form chamber writing, in which each performance presents a new structure and each iteration offers the path to a new composition and deeper meaning.
A
PROLOGO
for solo organ (2022)
performed by
Sarah Davachi, pipe organ
(Temppeliaukio Church, Helsinki Finland & Fairchild Chapel, Oberlin USA)
POSSENTE SPIRTO
for sustaining continuo, string duo, brass duo (2023-2024)
performed by
Sarah Davachi, continuo
(Mellotron, synthesizer, tape delay)
Andrew McIntosh, viola
Mattie Barbier, trombone
B
THE CRIER’S CHOIR
for solo organ (2022)
performed by
Sarah Davachi, pipe organ
(Fairchild Chapel, Oberlin USA)
TRIO FOR A GROUND
for organ, string duo, chamber choir (2023-2024)
performed by
Sarah Davachi, pipe organ
(Basilica di Santa Maria dei Servi, Bologna Italy)
Eyvind Kang, viola d'amore
Pierre-Yves Martel, viola da gamba
Lisa McGee, mezzo-soprano
C
RES SUB ROSA
for wind quintet (2023)
performed by
Harmonic Space Orchestra (Winds):
Rebecca Lane, bass flute
Sam Dunscombe & Michiko Ogawa, bass clarinets
M.O. Abbott & Weston Olencki, trombones
CONSTANTS
for solo electronics (2022)
performed by
Sarah Davachi, electronics
(electric organ, Mellotron, synthesizer, tape delay)
D
NIGHT HORNS
for solo organ (2023)
performed by
Sarah Davachi, pipe organ
(Église du Gesù, Toulouse France)
