Preferred Name

Joel Collier

Creative Commons License

Creative Commons License
This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License.

Date of Graduation

Spring 2016

Document Type


Degree Name

Doctor of Musical Arts (DMA)


School of Music


Kevin Stees

Andrew Lankford

Eric Guinivan


Since shortly after its invention, the euphonium has been utilized as a solo instrument, both in chamber music settings with piano, and with large ensembles such as brass bands and wind bands. However, it was not until the composition of Joseph Horovitz’s Euphonium Concerto in 1972 that the euphonium was genuinely regarded as a serious solo instrument in the brass band, capable of performing large-scale, substantial works.

In the following two decades, several composers wrote concerti for euphonium and brass band, each building on the technical demands of their predecessors. Their contributions established the basis of the genre, and also set the parameters of technique and endurance, giving future composers a solid foundation on which to expand.

This document will present the historical and compositional background of five concerti for euphonium and brass band: Horovitz’s Euphonium Concerto, both concerti by John Golland, Euphonium Concerto by Martin Ellerby, and Philip Wilby’s Concerto for Euphonium. In addition to their historical context, the new compositional demands in each work, as well as considerations for contemporary performers will be considered.



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