Commissioning a New Work: 101

BY DR. JOSHUA GANGER

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. 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

compiled the list, I looked at each composer’s website, specifically looking at their biographies and recent works. Within their biographies, it is important to see who they have worked with in the past. With what ensembles have they worked? Have they worked with many ensembles similar to yours in the past? Within their recent works, you can listen to pieces they have written to see if their compositional style matches what you want in your piece.

Next, narrow the list down to the composers you believe can create the piece you have outlined in your vision. Personally, I narrowed the list down to, at most, ten composers. Then, I contacted them through email. My purpose in contacting them was to gauge their interest and discover their pricing. In the email, I included my vision and timeline for the project and a request to find out their pricing and interest. Once you have received all the responses, if necessary, trim the list down even further by taking out those who are out of your price range, aren’t interested, or can’t meet the timeline. Next, do a phone or extensive email interview with each of them to find out their desires for this project. Also, if needed, find out if they are interested in allowing for a consortium to happen. If you are able to, I would also highly suggest at least reading, if not performing, some of their works with your ensemble in this stage of the process. While recordings can tell us a lot about compositions, we find out more through performing a composer’s works. Once you have decided on a composer, the process continues.

No matter which composer you have chosen, make sure there is some sort of written agreement in the form of an email or, preferably, a contract. There are some commissions you might do in which no money is exchanged. I would still highly recommend having all matters in writing for the vision of the project and the timeline so you have something with which to hold both the composer and yourself accountable. Make sure that the details of the commission (length, instrumentation, etc.), consortium, payment plans (if any), public release information, recording rights, and other important details within a commission are covered in the contract. Understand that some composers may ask for a down payment on the project once the contract is signed. As the commissioner, you have to fund the project. Outside of paying for the project on your own, there are a few different ways to fund the project. Grants are a great avenue to find and secure funding for new music. First, as an educator, check to see if your local arts council and statewide organizations have funding. These councils may offer annual or biannual grants to fund professional development. There are also larger established grant sources, like New Music USA, where you can apply to receive grant funding. Crowdfunding is another avenue that you could pursue. There are numerous outlets like Kickstarter and GoFundMe, among others. If seeking crowdfunding, consider that they withhold around 5% of your accrued funds. Finally, there is also the option of pursuing a consortium. A consortium is a group of individuals who come together with a common goal of funding a project. This is one of the routes that I have commonly pursued with my commissions.

The first step in building a consortium is to create parameters. As the lead consortium member, you should be allowed to give the world premiere and release the world premiere recording (whether on YouTube, a CD, or another avenue), but you also need to give incentives to the consortium members. Allow them to give regional premieres within a certain time frame before the piece is released to the public. Also, consider giving the consortium members the ability to record and release the work first before those who purchase it publicly are allowed to. Consider how much it will cost to join the consortium and what they will receive for joining. They should receive the parts to the score, but is there anything else you can offer as an incentive to join? Make sure the price to join is low enough that people will be

interested but high enough that you will achieve your goal of getting funding for the piece.

The next step is to recruit members for the consortium. Start with the composer: ask them if they have connections with individuals who might be interested in joining. Compile their references with connections that you have made to make a list of people to contact. Send out individualized emails to each person telling them a little bit about the project to see if they are interested. If they respond with interest, then send them more information about the commission and the consortium.

Once you have found funding and paid the composer, the commission does not end! The composer should send you a draft of the work. Look it over, read through it with your ensemble, and make sure that everything within the contract was met. Also, make sure that the piece is playable and all the markings are correct. The piece will have your name on it, so be sure it is easily understood in hopes that it will be performed for years to come. If you are leading a consortium, consider involving the other members in the draft process. Ask for their thoughts and allow for them to give feedback to the composer as well.

The next step is preparing for the premiere. Make sure, within the timeline for the project, that you have given yourself ample time to prepare properly for the premiere. Take your time! This is going to be the first time this piece is ever heard, so make sure to perform it as well as you can. The composer has likely put hours upon hours of work into this, so your ensemble should too. Be sure to tell your friends and colleagues about the great work written for you. See if they would be interested in purchasing and performing it. Not only will the composer garner interest as the piece continues to be performed, but your name will be on the score each time it is performed, which could gain you future connections. l

Praised for his “impeccable accuracy and demonstrated versatility and sensitivity” (International Trumpet Guild Journal), Dr. Joshua Ganger performs internationally as a chamber musician, soloist, and ensemble member. In 2016, his debut solo album, “Songs of a Sojourner” was released through Summit Records. As an educator, Ganger has given masterclasses at numerous universities and presentations at the Indiana Music Education Association Conference and the College Music Society Pacific Southwest Conference. Dr. Ganger currently teaches at Indiana Wesleyan University, Taylor University, and Manchester University.

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