Sarah Davachi + Katarina Miljkovic
Non-Event and the Metropolitan Waterworks Museum present
SARAH DAVACHI
Untitled piece for harmonium, violin, viola da gamba, and electronics with Eden Macadam-Somer (violin) & Ben Swartz (viola da gamba)
KATARINA MILJKOVIC
Metropolitan Waterworks Museum
2450 Beacon Street, Boston
Doors: 7:30pm, Music: 8pm
Tickets: $15 gen admission | $10 students + Non-Event members
There is limited parking at the museum (and a BC football game that night. If possible, please bicycle, carpool, or use the T (Reservoir or Cleveland Circle stops on the Green line).
Hot tea (courtesy of Café Fixe) and cookies will be provided.
About the artists
SARAH DAVACHI is a Canadian composer of electronic and electroacoustic music, currently based in Los Angeles where she is a doctoral student in musicology. She also holds a master’s degree in electronic music and recording media from Mills College in Oakland, California, where she studied with Maggi Payne and James Fei. Her compositional projects are primarily concerned with disclosing the delicate psychoacoustics of intimate aural spaces, utilizing extended durations and simple harmonic structures that emphasize subtle variations in overtone complexity and natural resonances. The instrumentation she employs is varied, including analog synthesizers, electric and acoustic pipe organs, piano, orchestral strings, and woodwinds, with mutual idioms often layered in textural counterpoint. Her work as a researcher concerns aspects of organology, archival study, and phenomenology. Since 2007, Davachi has also had the unique opportunity to work for the National Music Centre in Canada as an interpreter and content developer of their collection of acoustic and electronic keyboard instruments. Recent recordings include 2017’s All My Circles Run on Students of Decay and 2016’s Vergers on Important Records. This will be her Boston debut.
KATARINA MILJKOVIC is a Boston-based composer who investigates the interaction between science, music and nature through collaborative musical performance. This interest led her to the mathematician Benoit Mandelbrot’s essay “The Fractal Geometry of Natur”e and self-similar complex structures resulting in the cycle, Forest, “a dreamy piece, along the lines of Feldman or Brown, entirely captivating” (Signal to Noise). Her generative music has been described as “a refined, hypnotic dream” (Danas), “a work of musical and visual slow-motion with only a few delicately elaborated musical metaphors” (Radio Belgrade), and “ambient tone poem… that moved hypnotically through the sonic frame” (Lucid Culture).
This program is supported in part by a grant from the Boston Foundation, as well as grants from the Boston Cultural Council and the Brookline Commission for the Arts, local agencies which are funded by the Massachusetts Cultural Council. It is also presented with the generous support of WZBC 90.3 FM.
