Sarah Davachi is a composer and performer whose work is concerned with the close intricacies of timbral and temporal space, utilizing extended durations and considered harmonic structures that emphasize gradual variations in texture, overtone complexity, psychoacoustic phenomena, and temperament and intonation. Her compositions span both solo and chamber ensemble formats, incorporating a wide range of acoustic and electronic instrumentation. Similarly informed by minimalist and long-form tenets, early music concepts of intervallic and modal harmony, as well as experimental production practices of the studio environment, in her sound is an intimate and patient experience that lessens perceptions of the familiar and the distant.
Davachi has toured internationally and her work has been presented extensively across the globe, including at Southbank Centre (London, UK), Barbican Centre (London, UK), The Getty (Los Angeles, USA), Kontraklang (Berlin, DE), Radio France (Paris, FR), Issue Project Room (New York, USA), Elbphilharmonie (Hamburg, DE), Lampo (Chicago, USA), Orgelpark (Amsterdam, NL), Unsound (Krakow, PL), Museo Reina Sofia (Madrid, ES), Open Frame (Sydney, AU), Mazeum Festival (Kyoto, JP), and Suoni Per Il Popolo (Montréal, CA). Commissioned projects include large-scale works for the London Contemporary Orchestra, Quatuor Bozzini, Yarn/Wire, Apartment House, the BBC Scottish Symphony Orchestra, Organ Reframed, Bonner Kunstverein, Cello Octet Amsterdam, New Works Calgary, and Western Front New Music. She currently operates the imprint Late Music, founded in 2020 with the partner labels division of Warp Records, and is a doctoral candidate in musicology at UCLA, where she writes on phenomenology and critical organology.