Performance portfolio

• Main Author: Frey, Steven Adam
• Published: University of Salford 2015
• Subjects: 788.9
• Online Access: http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.693034

What are the next steps to continue the growth and appreciation of the euphonium as a solo instrument? The instrument now occupies a prestigious role in the brass band and its influence in the wind band continues to rise. Yet, in the orchestral realm, it continues to not gain traction. This DMA portfolio contains some of the most substantial works and projects that aim to propel the euphonium into the coveted orchestral sphere. By elevating the instrument to the solo role with the symphony orchestra, the euphonium gains credibility and greater respect in a new area of performance. The orchestral realm has remained mostly untouched for the euphonium save a few choice moments in The Planets by Gustav Holst and Don Quixote and Ein Heldenleben by Richard Strauss. The history of the instrument and its limited repertoire provide an insight into why the projects contained in this portfolio represent groundbreaking endeavors. There is an undeniably strong dedication to expanding the role of the euphonium as a viable solo instrument with symphony orchestra. In this path, I produced two commercially available recordings that feature a world class orchestra, the New Zealand Symphony Orchestra, with a repertoire encompassing wonderful transcriptions, primarily made by the writer and major new commissions. Another priority of substantiating the euphonium as a soloist involves presenting the instrument in a variety of settings and repertoire. This has been accomplished by placing the commercial recordings on different labels, Naxos and MSR Classics, as well as presenting a wide range of repertoire. Featuring all original compositions for the instrument connects with one area of listeners with the Majestic Journey recording while an array of instrumental transcriptions yields inroads with another portion of audiences on the Taking Flight recording. I commissioned two new concerti by Allen Feinstein and Tim Jansa. Both are written in a strong tonal language with great programmatic features to further add notoriety. The final project, The Operatic Euphonium, includes a variety of vocal and operatic transcriptions to share the voice of the euphonium with another audience segment. The euphonium now has the opportunity to be experienced and shared with many different avenues within the classical music genre. The primary objective of these projects is to not only promote the euphonium, but also to serve as reference materials for future students and as a guide to help create more opportunities for the instrument. This will be accomplished by the creation of reference recordings, arrangements for euphonium and orchestra, and piano reductions of these works.