BY DR. JOSHUA GANGER
COMMISSIONING A NEW WORK: 101 Creating new music is an extremely important part of music and music education. Commissioning a work may seem like a daunting task at first, but my hope is that this article will give you a simple outline that will spark a new idea. In my career as a performer and an educator, I have had the opportunity to help commission multiple works. Before even thinking about a composer, you first must have a vision for the piece. This will make the process of discussing the work with potential composers easier. My suggestion for this vision includes instrumentation, style, length, and purpose. Instrumentation is one of the most important parts of the vision for the work. As an educator, determining this part of the vision may not take as long as the others. Will the work be for band, choir, or a chamber ensemble? Not only will this decision impact the way the piece sounds, but it could also impact the cost of the commission. In some cases, the composer may charge more for the work depending on the size of the ensemble or accompaniment involved. Style is not only important for the vision of the work, but it is also essential when choosing a composer. You must have an idea of how you want the piece to sound. Will it be atonal or tonal? Will it be written in a baroque, renaissance, classical, romantic, or 20th-century style? The length of the work needs to be taken into consideration for multiple reasons, including endurance and pricing. 24
In most cases, the length of the piece will affect the cost. The longer the work, the more it will cost. I would also suggest taking into consideration where the piece would fit in a recital or a performance. This will guide how the piece is programmed and performed in the future by other ensembles after the world premiere. The purpose for the commission is, in my opinion, the most important part of the vision process. Why should this piece be written? Why should this piece be played? In 2015, myself and a group of 16 consortium members commissioned a new work for piccolo trumpet by Jim Stephenson. The purpose of this work was to fill a void within the trumpet repertoire. Most of the concerti currently performed on piccolo trumpet were not originally intended for that instrument. So, the goal for this work was to use the full range and capability of the modern piccolo trumpet. Once you have a vision for the work, the next step is finding and choosing a composer. Some people go into a commission with a composer in mind, while others have a vision for the piece but don’t know many composers personally. First, I would suggest compiling a list of any composers you know of and those your colleagues and mentors have suggested for this project. In my previous commissions, I took the vision that I had laid out and asked peers and mentors who they would recommend for the commission. Once I had W I N T E R 2021
