Graduate Diploma & Graduate Performance Certificate

Prescreening:

Collaborative Piano Prescreening:

Submit a recording with four selections:

• Two of the four vocal repertoire songs listed below under the Live Audition requirements
• One movement from the Beethoven violin or cello sonata which you plan to present at your audition
• One additional movement from a work for piano and solo instrument (can be another movement from the Beethoven sonata or a different instrumental work)

Collaborative Piano with Vocal Specialization (Opera Emphasis) Prescreening:

Four of the five live audition pieces listed below under the Live Audition requirements.

Final Auditions:

Collaborative Piano Live Auditions:

Collaborative Piano applicants should prepare the repertoire listed below. Candidates may be asked to sight-read vocal or instrumental works during the audition. Both an audition repertoire list and a complete repertoire list (instrumental and vocal) must be submitted with your application. Any changes to the audition requirements must be discussed with Cameron Stowe, Chair of Collaborative Piano, at least four weeks before the scheduled audition.

Applicants may bring their own vocalists and instrumentalists, or may request to perform with collaborative partners from NEC.

Please prepare all 3 categories:

• Vocal repertoire (all high keys):
  Schubert “Frühlingstraum” (from Winterreise)
  Brahms “Botschaft”
  Debussy “Il pleure dans mon coeur”
  Barber “St. Ita’s Vision”
  
• One of the following sonatas (complete):
  Beethoven Violin Sonata No. 7 in C minor (Op. 30, No. 2)
  Beethoven Violin Sonata No. 5 in F Major (Op. 24)
  Beethoven Cello Sonata No. 3 in A Major (Op. 69)
  Beethoven Cello Sonata No. 4 in C Major (Op. 102, No. 1) 
  
• Brahms Violin Sonata No. 2 in A Major (Op. 100), first movement only
  OR
  Brahms Violin Sonata No. 3 in D Minor (Op. 108), first movement only

Collaborative Piano Recorded Auditions:

We recognize that finding collaborative partners may be challenging, and hope that the following guidelines will be helpful as you prepare your recorded auditions. If you have any questions about using substitutions in your repertoire selection, please do not hesitate to contact Cameron Stowe, Chair of Collaborative Piano.

Submit a video of at least 30 minutes of duo repertoire, including a variety of musical styles. Both piano-instrumental and piano-vocal works are required.

1. 20 minutes (minimum) of the recording should consist of piano-instrumental repertoire. At least one piece or movement should be from the Classical period. 

2. 10 minutes (minimum) of the recording should consist of piano-vocal repertoire (art songs), showing a variety of styles.  

When choosing repertoire, applicants may find it helpful to refer to the requirements for live auditions listed below. These pieces are not required for recorded auditions, but may be used as a guide. 

Please prepare all 3 categories: 

• Vocal repertoire (all high keys):
  Schubert “Frühlingstraum” (from Winterreise)
  Brahms “Botschaft”
  Debussy “Il pleure dans mon coeur”
  Barber “St. Ita’s Vision”
• One of the following sonatas (complete):
  Beethoven Violin Sonata No. 7 in C minor (Op. 30, No. 2)
  Beethoven Violin Sonata No. 5 in F Major (Op. 24)
  Beethoven Cello Sonata No. 3 in A Major (Op. 69)
  Beethoven Cello Sonata No. 4 in C Major (Op. 102, No. 1) 
• Brahms Violin Sonata No. 2 in A Major (Op. 100), first movement only
  OR
  Brahms Violin Sonata No. 3 in D Minor (Op. 108), first movement only 

Collaborative Piano with Vocal Specialization (Opera Emphasis) Live Auditions:

Choose one selection from each of the following five groups:

• Richard Strauss: “Sein wir wieder gut” from Ariadne auf Naxos (through rehearsal 117) OR “Wie du warst” from Der Rosenkavalier (starting from rehearsal 14) OR “Ich bin Euer Liebden” from Der Rosenkavalier
• Puccini, La Bohème: “Dunque è proprio finita” (Act III quartet through end of act) OR Opening of Act IV though the end of Rodolfo & Marcello Duet
• Mozart, Le Nozze di Figaro: No. 5 “Via resti servita” OR No. 16, “Esci omai garzon malnato” until Susanna’s entrance (Applicant should be prepared to sing either vocal part while playing) 
• Debussy, from Ariettes oubliées: “Il pleure dans mon coeur” OR “Green” 
• Richard Strauss, “Morgen!” Op. 27, No. 4 OR “Allerseelen” Op 10, No. 8

Collaborative Piano with Vocal Specialization (Opera Emphasis) Recorded Auditions:

OPERA EXCERPTS

• Mozart, “Via resti servita” (No. 5) from Le nozze di Figaro — play while singing the Marcellina line as though you were making a recording for a soprano studying the role of Susanna
• Donizetti, “Quel guardo il cavaliere” from Don Pasquale — full introduction, supplying orchestral material that may not be accounted for in the piano/vocal score
• Puccini, La Bohème, Act I — opening until rehearsal 6 (Colline’s entrance), singing vocal lines only when orchestra is tacet

SONGS 

• Debussy, “Il pleure dans mon coeur” OR “Green” from Ariettes oublieés
• Richard Strauss, “Morgen!” Op. 27, No. 4 OR “Allerseelen” Op 10, No. 8

If you are unable to find a soprano or tenor for these two songs, you may submit two different, similarly contrasting songs with a singer. These selections must demonstrate your work with a singer, rather than accompanying your own singing. If you have any questions about using substitutions in your repertoire selection, please do not hesitate to contact Cameron Stowe, Chair of Collaborative Piano.