Sarah Davachi – The Head as Form’d in the Crier’s Choir

Description

Silent friend of those far from us, feeling how your breath is still enlarging space, fill the sombre belfry with your pealing. Late Music is pleased to present a new collection of music for chamber ensembles and for solo performers – for organs, strings, trombones, woodwinds, voices, electronics – make the criers a choir, we say!

The compositions on this album, written between 2022 and 2024, form a conceptual suite and an observance ofthe mental dances that we construct to understand acts of passage; the ways that we commune and memorializeand carry symbols back into the world beyond representation. To this end, The Head as Formd in the CriersChoir engages two references to the ancient Greek myth of Orpheus: Rilkes Sonnets to Orpheus, a collection ofpoems from 1922, and Monteverdis lOrfeo, an early baroque opera from 1607. The Head as Formd in the CriersChoir follows on from the last two albums, which were attempts to begin bridging the gap between the fixed
electroacoustic pieces that emerge in Davachis home studio and her slow-paced, somewhat open-form chamberwriting, in which each performance presents a new structure and in which each iteration offers the path to a newcomposition and deeper meaning.

Alongside Davachi, featured musicians on this album are Andrew McIntosh (viola, Los Angeles), Mattie Barbier(trombone, Los Angeles), Lisa McGee (mezzo-soprano, Los Angeles), Pierre-Yves Martel (viola da gamba,Montral), Eyvind Kang (viola damore, Los Angeles), and Rebecca Lane (bass flute, Berlin), Sam Dunscombe (bassclarinet, Berlin), Michiko Ogawa (bass clarinet, Berlin), M.O. Abbott (trombone, Berlin), and Weston Olencki(trombone, Berlin) of the Harmonic Space Orchestra (Winds).

Tracklist:

1. Prologo
2. Possente Spirto
3. The Criers Choir
4. Trio For A Ground
5. Res Sub Rosa
6. Constants
7. Night Horns