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A jazz-inspired concert featuring music of Ellington, plus the world-premiere of saxophone concerto Voluntary Breath

7:30pm Mansfield Theater

February 15 2025

GRANT HARVILLE
MUSIC DIRECTOR & CONDUCTOR
SEASON SPONSORED BY
D|A|DAVIDSON

Why You Shouldn't Miss It

​We honor musical legend Duke Ellington with a medley of iconic works including Mood Indigo and Caravan.


Don’t miss the world premiere performance of Voluntary Breath, a new tenor saxophone concerto by Jonathan Armstrong, a longtime friend of Grant, plus our next Second Performance Project winner, the playful and quirky Twirl.

CONCERT SPONSORS

PROGRAM NOTES

BY GRANT HARVILLE

Voluntary Breath
2024

Jonathan Armstrong  
|  b. 1982

20 MINUTES

In a season full of personal meaning, February’s program may be the one to which I feel most intimately connected.
I first met composer / saxophonist / improvisor / all-around-wise-man Jonathan Armstrong as colleagues in Idaho; we (and/or the groups we led) shared the stage several times in the ensuing years, and the idea of collaborating on a concerto for him to perform stayed in my mind thereafter. I’m delighted that the vision has finally had the chance to take shape. Armstrong wrote about Voluntary Breath:

I. Ripples on a Mountain Lake
Years ago, I had a dream about a shaman-like figure who floated above a mountain lake in deep meditation holding a guitar-like instrument. He would strum a chord, and the ripples from his instrument would propagate across the lake in resonance. I thought of this dream often, especially when our son was born frighteningly early, just 1lb., 5oz. at 23 weeks gestation. He would spend nine months total in the NICU. Due to the care of brilliant and dedicated medical professionals, he is now 4 years old, and doing great on supplemental oxygen. He was so fragile and sick for so long that the only place he could live was a hospital, a frightening place to be an infant. The sonic environment was awful; rooms are thick with a constant violent barrage of machine sounds, blaring alarms, and dizzying waves of harsh and severe-sounding medical speak coming from everywhere.

 

II. Tuning
In the hospital, I took inspiration from the shaman figure from my dream, and would attempt to “tune” my son’s sonic environment by singing simple melodies and drones in the key of the alarm sounds, and to the tempo of the machines that kept him alive. I would often sing a lullaby for my son in the NICU inspired by these sounds. One night, holding him, I was drawn to the periodic beep of an IV machine, and the constant chug of an oscillating ventilator. I sang soft improvised melodies in that key and tempo, feeling his tiny body resonate on my chest with his lullaby. The song felt like a medicinal song. A gift. A song of love and peace for a fragile boy. 

III. Chanting and the Machines
Being in daily rounds at the hospital felt like participating in an ancient chanting ritual. A familiar feeling to me as I was raised in a sect of Buddhism that featured communal chanting. Meetings would feature fast, rhythmic unison chanting from the congregation, creating grinding microtonal harmonies, sounding like the buzzing of a bees nest, and accompanied by the intermittent strike of a prayer bell. I would revel in these vibrations as a child, often lying on the floor to soak them up. At the hospital, the medical team would discuss our son’s medical history and strategies moving forward in a way that reminded me of these waves of sonic energy. They would then go to the cold, towering machines, machines that kept our son alive, to bestow upon them the agreed-upon settings. The machines would then leap to life, chugging along at the entered tempo.

 

IV. Voluntary Breath
Out of all of his complications from prematurity, our son’s lungs were, and remain, the most fragile. He spent his first five months on a ventilator, and for much of that time, it seemed impossible that he would ever breathe on his own. Breathing, an involuntary system, is something we do without thinking. But when we sit, and focus on it, it is a profound act. Liberation via meditation. Sit, and breathe. Anchor yourself to the one true moment and simply be. In these moments of radical presence, our breath is voluntary. Breathing in, hold, breathing out, hold.

V. Strands of Golden Light
One night, I sat by our son’s isolette, despondent and exhausted. He was quite
ill at the time, and there was a lot of fear. Slumped and ragged in my chair, I saw something out of the corner of my eye: strands of golden light coming in through
the window, twisting around each other, growing towards my son. The strands enveloped his isolette, vibrating and glowing. I continued to look away, experiencing them only peripherally. I finally looked at the strands, and they faded away. 

GUEST ARTIST
Jonathan Armstrong

Jon Armstrong Photo - WEB.jpg

Jonathan Armstrong is a musician, composer, and educator serving as the Director of Jazz Studies and Commercial Music at Idaho State University. He moved to Pocatello in 2015 after living and working as a professional musician
in Los Angeles for nine years. Jonathan has established a creative and dynamic career as a band-leader, performer, contemporary composer, and innovative educator. He is an Antigua Winds sponsored artist. 

Jonathan has established a reputation as a daring bandleader with three album releases of his original work. His debut “Farewell” (released in 2013) is a five-song suite for the Jon Armstrong Jazz Orchestra, a 23-piece large ensemble. The album “Burnt Hibiscus” (released November 2016) is a project that combines contemporary poetry with traditional Hindustani music played by a ten-piece chamber jazz ensemble. The album has received widespread acclaim, most notably being listed as the #2 jazz release of 2016 by national jazz critic Dave Sumner, of Bird is the Worm, who writes: 

“The melodies provoke a simple, crisp lyricism … a quality the ensemble exploits to launch into intricate rhythmic passages and harmonic excursions that stretch far out from the song’s opening  moments. Massively creative at both conception and conclusion, and one of the very best albums to come
out in 2016. Perhaps, the very best.”

In 2020, Armstrong released another album on Orenda Records, “Reabsorb.” Featuring an outstanding ensemble of LA musicians, Reabsorb explores human’s relationship with our own mortality. 

In addition to his work as a professional musician, Armstrong is an innovative educator who has established several creative music programs. He founded jazz programs at three Los Angeles-based educational non-profit organizations. He implemented a high school jazz orchestral program through Los Angeles City College, and taught for California Arts Partnership Summer Academy and the Oakwood School Academy of Creative Education. In every context, Jonathan encourages students to develop their own unique creative voice by stressing original composition and improvisational technique.

He has taken this same philosophy to Idaho State University, where he has established an innovative take on the commercial music degree. The culminating project for the degree is to produce and release an original album, which will be released on City Creek Records, a student-run record label based out of the ISU commercial music program. Students take courses in recording, mixing, song-writing, production, ensemble-leading, composition, improvisation, video editing, and business. He also hosts a bi-monthly radio show on KISU called “Don’t Call it Jazz.”

Jonathan loves his wife and kids, and really enjoys walking.

                      

Learn more at jonarmstrongmusic.com

A NOTE OF THANKS

I am so grateful to Grant Harville for giving me the honor of writing this piece for the Great Falls Symphony Orchestra, and for his brilliant collaboration throughout the composition of Voluntary Breath.

I also want to thank my wonderful family for their love and support, and for the feedback which helped shape the piece–from Erin Armstrong, Cathlene Pineda, Mal Layne, and Jens Kuross.

SECOND PERFORMANCE WINNER

Twirl

2019
Zach Gulaboff Davis  
|  b. 1991

5 MINUTES

Two years ago, the GFSA started the Second Performance Project, an initiative designed to provide hearings of works which had received premieres but no further performances. 

If you find such a premise odd, you’re probably not a composer: Getting a work premiered is difficult; getting a work played a second time is 10 times more so. While many groups commission new works, very little is done to keep those works out of the dustbin once the premiere has taken place. As a composer myself, I am very proud of the GFSA’s efforts to contribute to the world of new music in this way. 

Zach Gulaboff Davis’s Twirl is the third piece to be presented under this program. My own conception of the work is that of a composer baking up a jazz standard in the kitchen, pulling it out of the oven, carefully placing it on a serving dish, and then tripping and spilling it on the floor on the way to the dining room table. That said, it’s probably a good idea to hear the composer’s own words on the matter as well: 

“I set about composing Twirl with two main aims: To pen a work that would be engaging for each musician on stage, yet equally so for those in the audience. Opening with an almost unassuming, jubilant melody in the clarinet and English horn, the energy rarely ebbs throughout the work’s four minutes. As the work unfolds, the opening melody grows in complexity, interlocking with other instruments and momentarily morphing into warm quietness before the colorful and virtuosic finale. It is my hope the music of this work spreads a bit of joy in our often far too bleak world.”

SECOND PERFORMANCE PROJECT
Zach Gulaboff Davis

Zach_Headshot_official WEB.jpg

Described as “beautiful, lyrical” and brimming with “unexpected harmonic shifts” (International Trumpet Guild), the music of Macedonian-American composer Zach Gulaboff Davis
centers on the core elements of musical narrative: Emotion, drama, and expression. 

The winner of the 2019 American Prize in Composition (Vocal Chamber Music division), Zach maintains an active schedule as a composer and collaborator across the globe.

His works have been performed at venues including Carnegie Hall, Columbia University, University of Pennsylvania, Bulgaria’s National Palace of Culture, Norway’s Arctic Cathedral, Hamburg’s Zinnschmelze Cultural Center, NYU Steinhardt and Shanghai, the DiMenna Center, International Trumpet Guild and National Saxophone Alliance conferences, and at schools and conservatories throughout the country. 

Since beginning compositional studies in 2013, Zach’s works have garnered over 20 national and international awards. With degrees in composition from Mannes College of Music and the Peabody Institute of the Johns Hopkins University, Zach is also active as a pianist and conductor, having appeared as concerto soloist, chamber musician, solo recitalist, and champion of young composers’ works on the podium. 

In his spare time, Zach is active in American Kennel Club events, traveling the country as a licensed Dog Agility judge. Don’t ask him about the (countless) similarities between composing and designing Agility courses unless you have hours to spare! 

Born in Los Angeles and raised in Oregon, Zach currently resides in Jersey City, NJ.

Learn more at zgulaboffdavis.com

ZACH at piano WEB.jpg

Ellington Fantasy
8 MINUTES
Duke Ellington  |  1899 - 1974
Arr. Ralph Hermann

The River
1970
30 MINUTES
Duke Ellington

While calling Voluntary Breath and Twirl “jazzy” feels a touch reductive given the creative directions both pieces go, the jazz influence is undeniable in both cases, and when seeking appropriate works to fill out the program, I settled on another composer known for jazz but with a healthy disrespect for genre boundaries: 

 

Duke Ellington. The DC-born son of two pianists, Ellington formed his first band at 18, was broadcast nationally weekly from Harlem’s Cotton Club in his mid-twenties, toured Europe in the 1930s, composed 14 film scores in 18 years, and won a special posthumous Pulitzer Prize in 1999.

 

Many of his compositions became jazz standards and/or charted on Billboard’s Hot 100, including “Caravan,” “I’m Beginning to See the Light,” “Don’t Get Around Much Anymore,” “Take the ‘A’ Train” (actually written by his longstanding collaborator Billy Strayhorn), and “Mood Indigo.” These and more feature in our opener Ellington Fantasy, compiled by long-time ABC music head Ralph Hermann.

But Ellington was more than happy to move beyond big-band conventions. His interest in classical music manifested in various ways, including jazz orchestra arrangements of the suites from Tchaikovsky’s Nutcracker and Grieg’s Peer Gynt. He also wrote extensively for symphonic orchestra (with or without jazz performers), including Black, Brown, and Beige; The Three Black Kings; The Golden Broom and the Green Apple; and New World A-Comin.’ The River was commissioned by choreographer Alvin Ailey for his American Dance Theater in 1970.

The conceit of following a river from the source to the sea will be familiar to those who know Bedrich Smetana’s The Moldau, but instead of evoking specific scenes from a specific river, Ellington’s suite uses generic river terminology as symbols for various features of the human experience. These include birth  (“Spring”), pursuit of adventure (“Meander”), hazards (“Vortex”), backyard play (“Giggling Rapids”), and others. About the section called “The Lake,” Ellington says, 

“There it is, in all its beauty, God-made and untouched, until people come –people who are god-made and terribly touched by the beauty of the lake. They, in their admiration for it, begin to discover new facets of compatibility in each other, and as a romantic viewpoint develops, they indulge themselves. The whole situation compounds itself into an emotional violence that is even greater than that of the violence of the vortex to come.”

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