The Euphonium Foundation Commission Project 2011

How It Works | Projects | Support & Sponsorship Levels |Composers | The Future


Mission Statement of the Euphonium Foundation

The purpose of the Euphonium Foundation is to promote and enhance the position of the euphonium as a musical instrument by providing more focused exposure through support of commissions that specifically target high profile composers to write for the instrument in a variety of mediums. The Euphonium Foundation is a non-profit 501 (c)(3). Tax deductible donations can be made to support the operations. No staff or officers of the Euphonium Foundation are paid. All work and consultations are provided on a voluntary basis.


NOTE: There will be many questions about the entire commissioning process and it can be a complicated path. However, we hope to make it as easy as possible and also answer as many questions in the text below. Please read it thoroughly and feel free to ask any questions.

My Personal Statement

One of my favorite activities for the euphonium involves helping to produce and commission new works for the euphonium. Since my first endeavors during my undergraduate work at the University of Georgia, I have commissioned or had created more than 80 arrangements and compositions involving the euphonium. It has been quite a lot of work!! Most importantly, it has produced some very fine repertoire for the euphonium including the Euphonium Concerto by Allen Feinstein, Winner of the 2006 Harvey Phillips Composition Award presented by ITEA and works on the CDs Taking Flight and Beyond the Horizon (Volumes 1 and 2).

To continue to help build a greater community among players and teachers around the world, I wanted to expand and get more people involved in this process. Another successful community project was the Consortium Commission of Kevin Kaska to compose a Concertino for Euphonium. We had 10 wind bands from around the globe take part in that endeavor.

As I thought about how to branch out the commission opportunities further, I wanted to offer other players the opportunity to take part in these commissions so they can feel a great sense of OWNERSHIP in the future development of the euphonium's repertoire. So thus began THE EUPHONIUM FOUNDATION. An official not-for-profit 501(c)(3), the Euphonium Foundation can receive TAX DEDUCTIBLE donations.

Membership levels begin at $50!!! A bargain to be a part of helping to create GREAT new music for the euphonium and tuba. So please get involved, join the movement, and spread the good word!!

---Adam Frey---

How the Consortium Commission Process Works

Because many of the best composers work full time composing music as their profession, they require that they must be paid accordingly. Some composers charge $500 for a piece, others will compose for free, others will require a payment of $1,000 or $2,000 per MINUTE of music. As an individual this can be a daunting task to financially support these larger scale works. Thus the concept of a CONSORTIUM COMMISSION.

By pooling resources and having a large number of members, the consortium commission makes it much more possible to commission large scale works and attract bigger name composers. These works require a large amount of funds to commission top quality repertoire.

By running this process through an official non-profit, it also allows your contributions to be a tax deduction and in a few minor cases, we can apply for a VERY limited number of grants. It also adds great weight to the overall endeavor.

Our hope for the consortium commission involves offering players and teachers the opportunity to be involved in helping commission new music for the euphonium and tuba. While our primary focus will be euphonium works, we will still try to regularly feature the tuba in chamber settings.

Our concept is to create an ANNUAL contribution for specific projects each year. Each June-August, we will have a "membership drive" and advertisement of composers that will be composing works for that year.

Commission Projects for 2011

Ivor Bosanko
Compose a Sonata for euphonium and piano. Written in three movements with a length of 7-12 minutes. Difficulty level will be for undergraduate students and fine adult players. Level III-IV.

Stephen Barr
Compose a work for Euphonium Quartet approximately 5-7 minutes in length aimed at an approachable skill level for good undergraduate and excellent amateur players.

Fernando Deddos
Compose a contemporary work for euphonium, trumpet, and piano about 6-8 minutes in length aimed at an advanced undergraduate skill level. Level IV.

Benjamin Park
Compose a chamber work for horn, euphonium, and cello 3-6 minutes in length aimed at filling a gap of quality chamber music for Level III for high school, young college, and goo adult players.


About Stephen Barr

Stephen Barr is currently Assistant Professor of Music Theory and Director of Choirs at Slippery Rock University. He holds music degrees from Westminster College (BM), the University of South Florida (MM), and West Virginia University (DMA), where he was awarded a prestigious Swiger Doctoral Fellowship. His teachers in composition were John Beall, David Taddie, James Lewis, and Douglas Starr, and his principal conducting teachers have included Kathleen Shannon, Don Wilcox, and William Wiedrich.

Stephen is an active composer and arranger working in a variety of mediums, from concert music for choirs, wind bands, orchestras, and chamber groups, to contemporary film score and music for media in orchestral and electronic styles. His music has been performed by the Pittsburgh Symphony Orchestra, Florida Orchestra (Tampa, FL), American Academy of Conducting Orchestra and Aspen Contemporary Ensemble (Aspen Music Festival, CO), and the Three Rivers Choral Society (Pittsburgh, PA), among other groups. He has arranged and orchestrated works for the Imperial Symphony Orchestra (Lakeland, FL) the Sarasota Ballet and Florida West Coast Symphony (Sarasota, FL), Forest Hills Presbyterian Church (Tampa, FL), and other organizations.

Stephen has been a resident at the Atlantic Center for the Arts in New Smyrna Beach, FL, and the Aspen Music School and Festival in Aspen, CO. In 2010, his work Ethereal Wave for solo euphonium and percussion was performed at the Army Band Tuba-Euphonium Conference in Washington, D.C. and the International Tuba-Euphonium Conference in Tucson, Arizona. Recent commissions have included works for the Pittsburgh Civic Orchestra and the Slippery Rock Piano Trio.

 About Ivor Bosanko


Ivor Bosanko began playing in the Bargoed Salvation Army band at the age of eight. The same year he played his first solo at a St. David's Day concert at his elementary school. Piano and singing lessons were part of his early training, leading to a four year course of study at the Welsh College of Music and Drama. During this period he studied with Dr. Alun Hoddinott whose influence and encouragement launched a lifetime career of music-making.

Ivor became the principal trumpet of the Welsh National Youth Orchestra. In 1957 he commenced his national service as a musician in the Irish Guards Band.

In 1973 he was invited to be the special guest at the internationally known Star Lake Music Camp. As a result of this visit, in 1975 he accepted the position of Divisional Director of Music for Pennsylvania and Delaware. Four years later Ivor moved to Los Angeles and became the Territorial Director of Music for the thirteen Western States, a position he held until retirement.

During the intervening years Ivor's compositions have been widely used and recorded. His first song was published in 1963, his first euphonium solo, "Glorious Liberation" (some soloists use the title "Heart to Heart") was written in 1969. Over the years many soloists including David Daws, Andrew Justice and Derick Kane, have requested solos/duets for new recordings. The latest King Singers" recording - "In This Quiet Moment" - features two of Ivor's songs. This year a new vocal trio has been commissioned and will be premiered at a conference to be held in Disney World in the Spring.

 About Fernando Deddos

Fernando Deddos earned his degrees in conducting and composition at Parana State School of Music and Fine Arts, oriented by professors such as Harry Crowl (composition) and Silvio Spolaore (Low Brass). Since 1998, has been participating in diverse music festivals having classes and workshops with various finest brass musicians. He has played in some concerts with: Parana State Symphony Orchestra, Porto Alegre Symphony Orchestra, São Paulo State Symphony Orchestra, Cordoba Wind Orchestra (Arg.), etc. Got the National Young Soloist Award “Furnas I” in Rio de Janeiro (2006).

As a Composer wrote new pieces and arrangements for chamber music, symphonic music and some scores for contemporary dance and theater. His current main focus in composition is to write for Euphonium so as to include this instrument into various artistic settings. At the 2010 ITEC (International Tuba-Euphonium Conference), one of his works (“Rabecando”) received the first prize in the Harvey Phillips award for Composition Excellence. A great number of professional musicians including names like the virtuoso Steven Mead (euph.UK) and Sergio Carolino (tuba,PT) have been played your original pieces among places like Japan, USA, Switzerland, Portugal, Brazil, Colômbia, Argentina, always in official concerts and festivals.

Currently holds first chair of Euphonium in ParanaBrass (Philharmonic Brass and Percussion Ensemble of Parana State) and is the euphonium teacher for the São José dos Pinhais city band school of music, playing also like a freelancer musician, arranger and producer in studio recordings and a diversify of projects, including a groove band called “NegoMundo” and with the Décio Caetano Blues Band. Recorded his debut solo CD in 2009, titled “EuFonium Brasileiro”, the very first euphonium recording in Brazil. It got first place in the Roger Bobo Awards for Excellence in Recording (ITEC2010).

Fernando Deddos is an Adams Instruments Performing Artist (Netherlands).

About Benamin Park

Benjamin Maxwell Park was born in 1987, in Boston, Massachusetts. His passion for and interest in music began at least as early as when he started taking piano lessons at age 8.

He attended the Boston Latin School and played French horn. He began writing a few short pieces for piano. In 2006, his senior year, a growing interest in composition led Ben to write an orchestral overture to supplement a play in which he played a part, The Moonlight Room. But it was not until arriving at MIT—of all places—that Ben began writing music more seriously. After declaring his physics major, Ben soon formally added ambitions for a second degree in music. While continuing his physics studies at MIT, Ben took over a dozen music classes at MIT, both in composition and in other areas such as music history and analysis. Over his four years at MIT, Ben studied with Peter Child, Keeril Makan, and Charles Shadle. He also played horn in MITWE (the MIT Wind Ensemble) and taught an Advanced Placement Music Theory class for high school students. In 2009, Ben was awarded the Gregory Tucker Memorial Prize for contributions to the MIT Music and Theater Arts Department.

Ben graduated from MIT in June 2010 with an S.B. in Physics and an S.B. in Music. Electing to follow his passion for music, Ben enrolled at the Hartt School in West Hartford, Connecticut. He is currently in his second semester, pursuing a Master’s degree in composition and studying with Larry Alan Smith.

Please note: Every effort will be made to deliver the works in a timely fashion, but we of course do not want to rush creativity and accuracy. We do not have complete control of the composers.

Support Levels and Benefits

Silver - $50
Name listed in program notes and on website
Complimentary copy of 2 of the 4 works commissioned
Gold - $75
Name listed in program notes and on website
Complimentary copy of 3 of the 4 works commissioned

Platinum - $100
Name listed in program notes and on website
Complimentary copy of all 4 works commissioned

Benefactor - $150
Name listed in program notes and on website in a special Benefactors Section
Complimentary copy of all 4 works commissioned for 2009

All commission members will receive performance notes that might include practice and performance insights from professionals as well as insights from the composer.

The Long Term View of The Euphonium Foundation Consortium Commission from 2013 and Beyond

It takes years to commissions many well-known composers and it often requires a significant lead time to allow them to work the commission into their schedule. While this may daunt many people, this is a GREAT sign the composer is in high demand and good things are worth the wait. So there is significant planning and work that must be taken into account.

While the consortium already has a clear picture of who will be commissioned in the next 2 years, it will be necessary for members to help find the next great composers. Each year, the consortium members will be polled for name and genre submissions for future commissions. A Commissioning Advisory Board of 5 members that will be made up of top level players and conductors will review submissions annually. The CAB will create a short-list of 3 names and options that will be submitted to the members to vote.

In the long term, the commissions will be premiered by a variety of players and or be premiered as Consortium Premiere. The way a consortium premiere works is that over a period of time (such as 6 months), each member of the consortium has the right to perform the work and call that first performance a "Consortium World Premeire." With the planning of commissions for 2008 and 2009, these have mainly been determined already.

Go back to the main repertoire page.