Sinfonietta Helene

World Premiere: September 27-28, 2025 | Blue Ridge Orchestra | Asheville, NC

Blue Ridge Orchestra performing Sinfonietta Helene

An Artist’s Statement

Art is an interpretation—of experience, of emotion, of time itself. Sinfonietta Helene is my love letter to Asheville, a record of what was, what is, and what could be. This work is not rigid but malleable, open to suggestion, evolving just as memory and emotion do. It is meant to live and breathe in the hearts of those who hear it.

This symphony was born out of a need to process and to give back. In the aftermath of the storm, I found myself with two questions: What can I do? And how do I make sense of what has happened to us? As a musician, as an artist of time and emotion, I sat at the piano, searching for something tangible amidst the intangible. The primary theme for the second movement emerged fully formed—a melody that carried the weight of grief, the push and pull of hope and despair, the quiet acceptance of what had been lost.

My relationship with Asheville is one of deep gratitude and reverence. This city is not just where I live but where I create, where I connect, where I give and receive in equal measure. This piece is a reflection of that relationship—a symphony shaped by the collective spirit of our community. It is an offering, a space for reflection, and above all, an invitation to feel.

~ Jay Sanders

Flowing Like Water: Composer's Reflection

Jay Sanders at the Blue Ridge Orchestra's Sinfonietta Helene premiere.

Uncertainty, Anxiety, Fear; Confidence, Community, Hope.

These six words frame our shared story. This music traces our journey not as metaphor but as lived experience.

As humans, our experiences are social: we measure loss in neighbors missing, homes destroyed, businesses lost, artists displaced, weeks without water. Yet nature experiences things differently—water simply flowing as water flows, seeking its level, following ancient patterns without judgment or intention. We live suspended between these two perspectives, forever seeking balance.

This is the human condition: to be part of nature's grand indifference and to create meaning within it. We are drops in the river and the ones who name the river. We are the storm and those who shelter from it. Our social mind creates meaning, stories, judgments. But underneath these interpretations, the natural mind recognizes the rawness of existence—the way things simply are before we tell them what they should be. Reality simply exists; it is our consciousness that adds the poetry.

Listen tonight for the breathing in this music—sometimes shallow and panicked, sometimes deep and grounding. You'll hear heartbeats quicken and slow. You'll also hear a different voice: the voice of the mountains, of nature, of the Earth. Real transformation doesn't happen all at once—it comes in small movements, each building on the last, slowly climbing from chaos toward something resembling order. The darkness of winter always gives way to the vibrancy of spring.

Sinfonietta Helene follows this ancient story arc across three movements:

The Storm captures those first hours of uncertainty. We had been warned. We knew something was coming—you could feel it like the seabed laying bare before the wave crashes ashore. As external forces accelerate, we turn our attention inward. We inspect ourselves. We face our fears. Then, our relative realities are shattered in an instant. Branches break. Trees fall. The waters of our mighty French Broad and Swannanoa rivers, two of the oldest in the world, rise beyond any recorded memory as countless trees, some hundreds of years old, are brought down by hurricane-force winds.

The Despair explores the emotions we experienced as we emerged to discover the impossible. This work was born as I sat at the piano, searching for something tangible amidst the intangible. The primary theme emerged fully formed—a melody carrying grief's weight, hope and despair's push and pull, quiet acceptance. Even in our darkest moments, it is human to laugh while crying. This movement encompasses sorrow, flashes of hope, waves of anxiety, and finally quiet resolution—not with grandiosity but with acceptance. Grief simply is.

The Hope doesn't promise resolution but offers rediscovery—of ourselves, our community, and our relationship with these mountains that both nurture and challenge us. The future is not yet written; we're all on this journey along the river together. And as the future is unknown, we all must improvise in our own unique ways. This extemporaneous spirit is manifested in the third movement by my close creative colleagues, Dr. Bill Bares, Zack Page, and Alan Hall, whose fearless innovatory spirits are an endless well of inspiration. Today, as yesterday and tomorrow, the river still flows—from the past, towards the future, carrying both memory and possibility.

Today, we gather as a community that has learned what it means to flow like water—to yield and persist, to destroy and create, to follow the only way forward, which is through.

I would like to express my deepest gratitude to:

The Dan Lucas Memorial Foundation, and especially my dear friends Greg, Annie, and Dayna. To Dr. Emily Eng and all the musicians of this amazing orchestra who bring this story to life. To Dr. Bares and Sara Caswell for helping me shape it into something bigger than myself. To Mike Comparetto, Mela and Sifu for guiding my journey of self-discovery. To my amazing wife Kathy for supporting me and my crazy artistic life. To each of you for being here today and bearing witness, and most of all to this irrepressible community that continues to transform uncertainty into hope.

Thank you.

About the Composer:

Jay Sanders is a composer and multi-instrumentalist whose work seamlessly bridges jazz, classical, and contemporary genres. Based in Asheville, N.C., Sanders brings decades of compositional experience ranging from structured thematic works to experimental soundscapes. His recent solo album Evanescent (2024) demonstrated his orchestral sensibilities through an eight-person ensemble featuring saxophone, fiddle, and synthesizer, earning critical praise for its "astonishing range of styles and sounds." Sanders' extensive background includes over two dozen recordings, performances across 47 states and six countries, and collaborations with acclaimed acts including Acoustic Syndicate and The Snake Oil Medicine Show. This symphonic work represents his first large-scale orchestral composition.