![Davachi, Sarah – Long Gradus [2xLP] - New LP](https://cdn.shopify.com/s/files/1/0635/1427/files/a3301575467_16.jpg?v=1703810285)
Pay in installments of $148.25 with
,
and
Shipping Estimate
USA
- USA
- CAN
- USA
- CAN
Ships within 48 hours · Estimated delivery Aug 29 - Sep 3
Promo Codes Available:
For Your Every Summer RSVP, with Code: SUMMER15
Description
Davachi, Sarah – Long Gradus [2xLP] - New LPA new longform commissioned work for any ensemble of four similar instruments. The definitive string quartet version of 'Long Gradus' is available as a 2LP. Long Gradus by Sarah Davachi 'Long Gradus' began in 2020 when Sarah Davachi was selected to participate in Quatuor Bozzinis Composers Kitchen residency, which was to be a joint production with Gaudeamus Muziekweek in the Netherlands. With the postponement of the residency to the following year,
A new longform commissioned work for any ensemble of four similar instruments. The definitive string quartet version of 'Long Gradus' is available as a 2LP.
'Long Gradus' began in 2020 when Sarah Davachi was selected to participate in Quatuor Bozzini’s Composer’s Kitchen residency, which was to be a joint production with Gaudeamus Muziekweek in the Netherlands. With the postponement of the residency to the following year, the composer was given the opportunity to take a step back and look at the piece over a much longer period of time than would have ordinarily been possible. The resulting longform composition in four parts, written in its initial form for string quartet, was developed as an iteration of an ongoing preoccupation with chordal suspension and cadential structure. In this context, horizontal shifts in pitch material and texture occur on a very gradual scale, allowing the listener's perceptions to settle on the spatial experience of harmony. A system of septimal just intonation helps to further the production of a consonant acoustic environment. 'Long Gradus' uses a formalized articulation of time-bracket notation alongside unfixed indications of pitch, texture, and voicing that allow the players some discretion in determining the shape of the piece. A sense of pacing that is markedly different from that of mensural notation emerges accordingly, while the open structure of the composition results in each performance having a unique and unpredictable configuration.
The piece may be arranged in a quartet format for any instrumentation that can alter its intonation with some degree of accuracy or produce a natural seventh harmonic. Substitution of the string quartet with other instruments as desired or imagined, both acoustic and electronic, is entirely acceptable and indeed encouraged. To this end, Davachi has also offered the 'Long Gradus: Arrangements' 4CD set, which includes the string quartet version as well as arrangements for woodwinds, brass and organ, and choir and electronics. A 'gradus' is a sort of handbook meant to aid in learning a difficult practice; in this case, 'Long Gradus' is designed to considerably slow the cognitive movements of both listener and player, and to focus their attention on the relationships between moments. A rich harmonic landscape that is constantly shifting and which changes with each engagement is the listener’s return. For the player, 'Long Gradus' is an invitation to practice active listening and to immerse oneself in the stillness of psychoacoustic space and time.
Davachi comments: “I owe a huge debt of gratitude to Quatuor Bozzini for the opportunity to go through this process together, which is exceedingly uncommon in the context of chamber music. Typically, when writing for an ensemble or orchestra, the composer is given very few, if any, occasions to actually adjust their work in a meaningful way outside of perhaps one or two brief rehearsals of an essentially final score. It is extremely rare and an enormous luxury to begin with simple sketches or ideas and to actually construct a piece over a period of several months or more from a place of sonic assurance – that is, being able to listen and to explore and to continually fine tune in response to the sound itself, in conjunction with the performers. Part of the reason that my earliest compositional efforts arose within the domain of electroacoustic and acousmatic music is because of the control that it offered, to intuit sound in real time rather than through the indirect interpretation of future sound in the form of a score. Even now, when I compose work for chamber ensembles, I typically always start from a recorded version or from a demo – from the sound itself – and then work backwards to generate the score that will result in that music. It seems to be a vestige of conservatory thinking to view music performance, even in relation to new music, as a kind of reading of notes on the page that simply results in things just falling into place as expected. But, when the music goes beyond what’s on the page to include a dialogue with the acoustic space of the performance, and to require a certain patience and concentration on part of the performers, there needs to be a different approach; the Composer’s Kitchen residency offered that respect and curiosity.”
'Long Gradus' began in 2020 when Sarah Davachi was selected to participate in Quatuor Bozzini’s Composer’s Kitchen residency, which was to be a joint production with Gaudeamus Muziekweek in the Netherlands. With the postponement of the residency to the following year, the composer was given the opportunity to take a step back and look at the piece over a much longer period of time than would have ordinarily been possible. The resulting longform composition in four parts, written in its initial form for string quartet, was developed as an iteration of an ongoing preoccupation with chordal suspension and cadential structure. In this context, horizontal shifts in pitch material and texture occur on a very gradual scale, allowing the listener's perceptions to settle on the spatial experience of harmony. A system of septimal just intonation helps to further the production of a consonant acoustic environment. 'Long Gradus' uses a formalized articulation of time-bracket notation alongside unfixed indications of pitch, texture, and voicing that allow the players some discretion in determining the shape of the piece. A sense of pacing that is markedly different from that of mensural notation emerges accordingly, while the open structure of the composition results in each performance having a unique and unpredictable configuration.
The piece may be arranged in a quartet format for any instrumentation that can alter its intonation with some degree of accuracy or produce a natural seventh harmonic. Substitution of the string quartet with other instruments as desired or imagined, both acoustic and electronic, is entirely acceptable and indeed encouraged. To this end, Davachi has also offered the 'Long Gradus: Arrangements' 4CD set, which includes the string quartet version as well as arrangements for woodwinds, brass and organ, and choir and electronics. A 'gradus' is a sort of handbook meant to aid in learning a difficult practice; in this case, 'Long Gradus' is designed to considerably slow the cognitive movements of both listener and player, and to focus their attention on the relationships between moments. A rich harmonic landscape that is constantly shifting and which changes with each engagement is the listener’s return. For the player, 'Long Gradus' is an invitation to practice active listening and to immerse oneself in the stillness of psychoacoustic space and time.
Davachi comments: “I owe a huge debt of gratitude to Quatuor Bozzini for the opportunity to go through this process together, which is exceedingly uncommon in the context of chamber music. Typically, when writing for an ensemble or orchestra, the composer is given very few, if any, occasions to actually adjust their work in a meaningful way outside of perhaps one or two brief rehearsals of an essentially final score. It is extremely rare and an enormous luxury to begin with simple sketches or ideas and to actually construct a piece over a period of several months or more from a place of sonic assurance – that is, being able to listen and to explore and to continually fine tune in response to the sound itself, in conjunction with the performers. Part of the reason that my earliest compositional efforts arose within the domain of electroacoustic and acousmatic music is because of the control that it offered, to intuit sound in real time rather than through the indirect interpretation of future sound in the form of a score. Even now, when I compose work for chamber ensembles, I typically always start from a recorded version or from a demo – from the sound itself – and then work backwards to generate the score that will result in that music. It seems to be a vestige of conservatory thinking to view music performance, even in relation to new music, as a kind of reading of notes on the page that simply results in things just falling into place as expected. But, when the music goes beyond what’s on the page to include a dialogue with the acoustic space of the performance, and to require a certain patience and concentration on part of the performers, there needs to be a different approach; the Composer’s Kitchen residency offered that respect and curiosity.”
released November 3, 2023
'Long Gradus' composed and arranged by Sarah Davachi, 2020/21
“Harmonic Observances In Four Parts”
for any ensemble of four similar instruments
TRACKS 1 - 4: LONG GRADUS (STRINGS)
Performed by Quatuor Bozzini
Alissa Cheung, violin
Clemens Merkel, violin
Stéphanie Bozzini, viola
Isabelle Bozzini, cello
Recorded by Zach Blackstone at the Warehouse Studio in Vancouver BC Canada, 14 & 15 March 2023
Mixed by Sarah Davachi and Sean McCann
Mastered by Sean McCann
Special thank you to Susan Gibb & Regina Greene
Made with the generous support of Western Front
TRACKS 5 - 8: LONG GRADUS (WOODWINDS)
Performed by
Rebecca Lane, flute + bass flute
Samara Dunscombe, clarinet + bass clarinet
Recorded by Sarah Davachi and Samara Dunscombe at Emmaus Kirche in Berlin Germany, 11 & 12 May 2022
Mixed by Sarah Davachi
Mastered by Sean McCann
Special thank you to Ingo Schulz, Marta Blazanovic-Drefers, & John Stevens
TRACKS 9 - 12: LONG GRADUS (BRASS & ORGAN)
Performed by Rage Thormbones
Mattie Barbier, alto trombone
Weston Olencki, tenor trombone
With Sarah Davachi, pipe organ
Recorded by Sarah Davachi and Weston Olencki at The Museum Of Jurassic Technology in Los Angeles CA USA, 1 & 2 November 2022
Pipe organ recorded by SD at Emmaus Kirche in Berlin Germany
Mixed by Sarah Davachi
Mastered by Sean McCann
Special thank you to David Wilson
TRACKS 13 - 16: LONG GRADUS (CHOIR & ELECTRONICS)
Performed by
Judith Berkson, mezzo-soprano
Sarah Davachi, sine wave oscillators
Recorded by Sarah Davachi at Alms Vert in Los Angeles CA USA, 13 July 2022 and 23 January 2023
Sine wave oscillators performed on a Korg PS-3100 synthesizer
Mixed by Sarah Davachi
Mastered by Sean McCann
'Long Gradus' composed and arranged by Sarah Davachi, 2020/21
“Harmonic Observances In Four Parts”
for any ensemble of four similar instruments
TRACKS 1 - 4: LONG GRADUS (STRINGS)
Performed by Quatuor Bozzini
Alissa Cheung, violin
Clemens Merkel, violin
Stéphanie Bozzini, viola
Isabelle Bozzini, cello
Recorded by Zach Blackstone at the Warehouse Studio in Vancouver BC Canada, 14 & 15 March 2023
Mixed by Sarah Davachi and Sean McCann
Mastered by Sean McCann
Special thank you to Susan Gibb & Regina Greene
Made with the generous support of Western Front
TRACKS 5 - 8: LONG GRADUS (WOODWINDS)
Performed by
Rebecca Lane, flute + bass flute
Samara Dunscombe, clarinet + bass clarinet
Recorded by Sarah Davachi and Samara Dunscombe at Emmaus Kirche in Berlin Germany, 11 & 12 May 2022
Mixed by Sarah Davachi
Mastered by Sean McCann
Special thank you to Ingo Schulz, Marta Blazanovic-Drefers, & John Stevens
TRACKS 9 - 12: LONG GRADUS (BRASS & ORGAN)
Performed by Rage Thormbones
Mattie Barbier, alto trombone
Weston Olencki, tenor trombone
With Sarah Davachi, pipe organ
Recorded by Sarah Davachi and Weston Olencki at The Museum Of Jurassic Technology in Los Angeles CA USA, 1 & 2 November 2022
Pipe organ recorded by SD at Emmaus Kirche in Berlin Germany
Mixed by Sarah Davachi
Mastered by Sean McCann
Special thank you to David Wilson
TRACKS 13 - 16: LONG GRADUS (CHOIR & ELECTRONICS)
Performed by
Judith Berkson, mezzo-soprano
Sarah Davachi, sine wave oscillators
Recorded by Sarah Davachi at Alms Vert in Los Angeles CA USA, 13 July 2022 and 23 January 2023
Sine wave oscillators performed on a Korg PS-3100 synthesizer
Mixed by Sarah Davachi
Mastered by Sean McCann
Shipping Notes
- Free Standard Shipping on $100+ Orders to the USA.
- Except Preorder products are shipped in 48 hours.
- Delivery to the USA:
- Standard Shipping : 3-10 business days
- If time is of the essence, please consider selecting expedited delivery for faster service.
Exchange/Return Notes
- We offer a 30-day return/exchange service after receiving.
- Final sale items are not eligible for returns or exchanges.
- To process your return/exchange, please contact us at [email protected]
- Please click here for more details>>> Return & Exchange Policy
4.7 ★★★★★
Based on 16 reviews
Sort
Product Reviews
★★★★★ 5
Great product
Flavor Name: Unflavored, Size: 4 Fl Oz (Pack of 1)
Product is easy to use. Started out slow as it recommends. It never caused upset stomach. I use it daily in my first water of the day. There is no flavor to it nor smell. I recommend this product.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 20, 2026
★★★★★ 5
Add the right amount
Flavor Name: Unflavored, Size: 8 Ounce (Pack of 1)
Previous reviewers are adding too much of Concentrace to filtered water. Add only about 20 drops in a gallon of Zero Water filtered water.
This will bring the TDS (total dissolved solid) from 0, after using the Zero Water pitcher, which is basically distilled water, to about 110 TDS an ideal level.
This doesn't mean that this will replace all of your daily mineral needs because water alone is not designed to do this. You will get the rest of the needed minerals from food and any supplements that you may take.
You may also want to consider using a LifeStraw pitcher after filtering with the Zero Water pitcher. Because the Zero Water will remove all dissolved solid including some bacteria, PFAS, and microplastics. But LifeStraw will remove most of the microplastics, DBPs, VOCs, PFAS and pharmaceuticals.
One long filter in the Life Straw pitcher will last over a year since you're already using filtered water, but the round filter would need more frequent replacement - it has 2 parts. You must use both filters in the Life Straw pitcher, even after using the Zero Water pitcher.
There's a new documentary special on Netflix (May/'26) on microplastics and its dangers that everyone should see. Extremely informative.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 5, 2026
★★★★★ 5
I'd give them 20 stars if I could
Flavor Name: Unflavored, Size: 8 Ounce (Pack of 1)
I'd give it 20 stars if I could.
I thought I was really healthy. I work out, eat organic, drink RO water, take vitamins/glandulars and this last month something was really wrong.
I was having panic attacks so frequently and strongly I began finding reasons to not leave the house.
I was wondering if I were starting to have a deeper health issue and I began taking these not really thinking they'd do very much.
BOY WAS I WRONG.
I legit feel like I have my life back.
Anxiety gone.
Panic attacks disappeared.
Deeper quality of sleep (still working on length).
My eye sight feels sharper.
I feel happier.
I'm back to the "old me" that I didn't really know was gone in the first place.
Nothing else has changed in my life. It's THIS. I've told my closest friends and boyfriend about this because apparently my body is stripped of minerals and it was trying to get my attention.
I can't rave about this product enough.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on April 3, 2026
★★★★★ 5
A Game-Changer for Daily Vitality
Flavor Name: Unflavored, Size: 2 Fl Oz (Pack of 1)
Switching to a liquid formula has completely transformed my morning routine. I noticed a significant boost in my energy levels almost immediately, likely because the absorption feels so much more efficient than traditional pills. The taste is surprisingly pleasant, making it easy to stay consistent, and I love the peace of mind that comes with getting a comprehensive blend of essential nutrients in one simple dose. It is a fantastic option for anyone looking to support their overall wellness without the hassle of swallowing oversized capsules.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on March 31, 2026
★★★★★ 5
Great Product
Great product. Works well and I feel so much better
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 31, 2026
recommand products
Tomkins - Oval Upholstered Storage Ottoman - Indigo Blue
257.24
Retro - Round Wood Top Dining Table - White And Chrome
208.86
Jefferson - 2-Tier Glass Shelf Acrylic Bar Cart - Chrome
201.78
Dorielle - Round Mirrored Acrylic Crystal Side Table - Silver
326.86
Kane - Woven Rattan Wood Bar Chair (Set of 2) - Light Walnut
257.24