The Head As Form’d In The Crier’s Choir

Description

The seven compositions of this album, written between 2022 and 2024, form a conceptual suite and an observation of the mental dances we construct to understand acts of passage; the ways in which we commune, commemorate, and transport symbols into the world beyond representation. To this end, The Head as Form'd in the Crier's Choir draws on two references to the ancient Greek myth of Orpheus: Rilke's Sonnets to Orpheus, a collection of poems from 1922, and Monteverdi's Orfeo, a baroque opera from 1607.
The Head as Form'd in the Crier's Choir forms with Two Sisters (2022) and Antiphonals (2021) a triptych, which bridges the gap between the fixed electroacoustic pieces that emerge in Davachi's personal studio and her slow and somewhat open chamber writing, in which each performance presents a new structure and in which each iteration offers the path to a new composition and a deeper meaning.
In addition to Davachi, the musicians featured on this album are Andrew McIntosh (alto, Los Angeles), Mattie Barbier (trombone, Los Angeles), Lisa McGee (mezzo-soprano, Los Angeles), Pierre-Yves Martel (viola da gamba, Montreal), Eyvind Kang (piano, Montreal), Kang (piano, Montreal), Eyvind Kang (viola d'amour, Los Angeles), Rebecca Lane (bass flute, Berlin), Sam Dunscombe (bass clarinet, Berlin), Michiko Ogawa (bass clarinet, Berlin), M. O. Abbott (trombone, Berlin), and Weston Olencki (trombone, Berlin) from the Harmonic Space Orchestra (winds).