World Premiere – Oakland Symphony Commission

This work was co-commissioned by the American Composers Orchestra, Oakland Symphony, Wheeling Symphony, with a generous grant from the New York State Council on the Arts, and written for Tracy Silverman, violinist.

The preferred violin for this concerto is a six-string, electro-acoustic instrument that can be amplified locally using a pick-up on the instrument or a microphone and small guitar or electric bass amplifier. Alternative versions for 4- or 5-string instruments are available up- on request. Working with the soloist, an array of effects can be used within the soloist’s part — and always in balance with the ensemble.

There are four ‘Town Hall Cadenzas’ involving Speakers 1-8 (members of the audience) speaking, singing, using sign-language, and/or expressing themselves for fifteen seconds or less as indicated in the score (bars 271-335). Ideally, two microphones on mic stands will be placed in an area that will allow the Speakers to move to them, guided by ushers or members of the orchestral staff. These cadenzas can and should be explained to the audience before the performance, and a small ‘rehearsal’ is encouraged to allow a smooth and engaging execution during the performance. The tempos during the cadenzas are flexible and can respond to and be in collaboration with the Speakers and soloist. The cadenzas allow the host orchestra to invite into and create space for their audience. While the Speakers might be vetted and prepared by the host orchestra as a part of the rehearsal process, it is the design and intention of the composer that the cadenzas don’t include pre-selected Speakers, but rather allow for trust, risk, and full expression between the performers and the audience — all towards an urgent, vibrant, collective expression of our keenly American trials, tribulations, hopes, and dreams, which aren’t always self-evident
and remain enduring, but ever elusive.

A post-performance discussion with the audience is encouraged, if time allows. This can be moderated by the conductor, the composer (if present), the soloist, members of the orchestra, participating local officials, and/or other collaborators.

Some questions that frame the discussion might be:

What does America look and sound like now, and can a violin concerto create a frame for
people to be seen?

Who are the voices of America, and can a concert hall locate and create space for them to
be heard?

What truths do we as a community and country hold, and why?

What are the responsibilities of the individual to our collective culture, and who should
shape and maintain the artistic works that define who we are as an artistic community?

~ Daniel Bernard Roumain (DBR), copyright 2025