A few hours before the big concert, I did a Periscope session backstage.
I’m very enthusiastic about my gear, (as many bored friends will confirm), and proud to endorse:
Barbera Transducers–the pickup is the most important element of the sound. I’ve used Rich Barbera’s amazing transducer pickups since 1981. They were the best pickup for electric violin on the market back then and they still are.
Keith McMillen Instruments’ SoftStep midi controller–endlessly programmable and indestructible.
D’Addario Strings–reliable, consistent and lots of varieties to choose from for different uses.
Aurisonics In-Ear Monitors–clean, warm and made in Nashville. Oops, they just got bought by Fender so now they’re Fender In-Ear Monitors, I guess. Mine still say Aurisonics.
Boomerang Phrase Samplers–the most user friendly and best sounding loop pedal anywhere. I’ve used them for years. Small company who cares about what they do.
The orchestral version of Nico Muhly’s “Seeing is Believing” was co-commissioned by a consortium of 5 orchestras. I performed the first premier in January with the Sinfonia Gulf Coast in Destin, Florida and performed it in April with the Colorado Symphony. I’ll be with The American Symphony in Carnegie Hall this October, the Rhode Island Symphony in November and Stockton Symphony in March of ’16. Including live looping and effects, the work is truly a 21st century electric violin concerto by one of the most significant young composers of our time.
NPR is my jam. I am a Fresh Air-listening, On Point-loving, Car Talk-ing junkie. Finally got to do a Tiny Desk Concert, which was awesome, but the best part was getting a tour of the newsroom, watching Audie Cornish tape “All Things Considered” and riding in the elevator with Carl Kassel. Pinch me.
The new CD is now available on Delos/Naxos Records! Listen to it and download it here. The main feature of the recording is my 2nd electric violin concerto, “Between the Kiss and the Chaos”, a 5 movement work based on iconic masterpieces of visual art recorded with the amazing Calder Quartet. The remainder of the CD is a 4 movement work of mine for electric violin and loop pedal called “Axis and Orbits”.
“This recording by the composer and six-string electric violin virtuoso Tracy Silverman features two works that reveal his delight in the sonic riches of his instrument as well as a knack for balancing structural rigor and creative freedom.” —Corinna da Fonseca-Wollheim, NY Times
“A highly creative offering from a distinctly dynamic instrumentalist and composer.” —Lidia de Leon, BlogCritic
“One of contemporary music’s all-round good guys. This recording of two remarkable sets of works for electric violin demonstrates both his performing and composing chops, and very good chops they are indeed.” —Dominy Clements, MusicWeb International
I’m proud to be premiering “Embrace”, the new electric violin concerto by Kenji Bunch. It was co-comissioned by 9 orchestras through an organization called the Orchestra Engagement Lab whose mission is to strengthen orchestras’ connections within their communities. The first premier was on April 6, 2013 with the Champlain Philharmonic Orchestra in Vermont and I’ve performed it recently with the Stockton Symphony, Berklee College Symphony and several others. there are still 2 more premiers coming up in Anchorage, Alaska with the Anchorage Symphony and in Avery Fisher Hall in NY with the Little Orchestra Society of NY in May. The piece coalesces on stage like a flash mob with orchestra members entering one by one from the audience and from various locations in the hall. It’s a joyful, beautiful work with plenty of room for me to improvise and rock out.
The Nashville Symphony and I performed the NY premier of a major new electric violin concerto, “The Palmian Chord Ryddle”, by legendary composer Terry Riley in Carnegie Hall on Saturday, May 12, 2012 on the closing concert of the 2012 Spring for Music Festival. Known as “the father of Minimalism”, Riley is one of the most important and influential composers of the 20th century. He changed the course of music history with his seminal 1964 work, “In C” which set the stage for composers such as John Adams, Phillip Glass, Steve Reich and even Pete Townsend of the rock band The Who, who paid homage to Riley with the synthesizer intro to the hit song, “Baba O’Riley”, (better known as “Teenage Wasteland.”)
Listen to the NPR broadcast of “The Palmian Chord Ryddle” live from Carnegie Hall
The Nashville Scene: Cover Story about Tracy
The Tennessean: Profile Article of Tracy
Promo Video for “Palmian Chord Ryddle”