Repertoire List: 2017-2018 Academic Year

Song cycles, sonatas, concertos, etc. were performed in their entirety unless otherwise specified.

Works performed in public:

Beethoven Cello Sonata No. 4 in C major, Op. 102, No. 1
Beethoven Romance in F major, Op. 50
Bellini Dolente imagine di Fille mia
Bellini Ma rendi pur contento
Bernstein “Jupiter has seven moons” from I Hate Music
Biber Rosary (“Mystery”) Sonata No.1 in d minor (The Annunciation)
Bruch Violin Concerto No. 1 in g minor, Op. 26 (Allegro moderato)
Chilcott, Bob Put Memory Away
Copland Violin Sonata
Debussy “C’est l’extase” from Ariettes oubliées
Debussy Clair de lune
Debussy “Il pleure dans mon cœur” from Ariettes oubliées
Debussy Nuit d’étoiles
Donaudy Vaghissima sembianza
Fauré Clair de lune, Op. 46, No. 2
Foss Three American Pieces
Gardner, John Tomorrow shall be my dancing day
Grieg Violin Sonata No. 3 in c minor, Op. 45
Handel “Lascia ch’io pianga” from Rinaldo
Ibert Flute Concerto
arr. Johnson, Craig Hella Lo how a rose / The Rose
Lotti Pur dicesti, o bocca bella
Mahler, Alma Die stille Stadt
Mahler, Alma Laue Sommernacht
Mendelssohn-Hensel, Fanny Die Mainacht
Mozart “Ah Scostati!…Smanie implacabili” from Così fan tutte
Mozart “Deh, vieni alla finestra” from Don Giovanni
Obradors Canciones Clásicas Españolas
Piazzolla Le Grand Tango for cello and piano
Poulenc Clarinet Sonata (Allegro tristamente; Romanza)
Rorem Early in the morning
Rutter When Icicles Hang (Winter Nights; Blow, blow thou Winter Wind; Hay, ay)
Satie Je te veux
Scarlatti Le Violette
Schubert “Der Neugierige” from Die schöne Müllerin
Schubert “Nur wer die Sehnsucht kennt” from Goethe Lieder
Schumann, Clara Die Lorelei
Schumann, Clara Liebst du um Schönheit, Op. 12, No. 2
Schumann Flügel! Flügel! um zu fliegen, Op. 37, No.8
Tchaikovsky Violin Concerto in D Major, Op. 35 (Finale: Allegro vivacissimo)
Vaughan Williams Six Studies in English Folksong
Weber Clarinet Concerto No.1 in f minor, Op. 73 (Allegro)
Weber Clarinet Concerto No.2 in E-flat Major, Op. 74 (Allegro)

Works prepared for competitions, masterclasses, and recordings:

Arditi Il Bacio
Britten “Johnny” from Cabaret Songs
Britten The last rose of summer
Chausson Le colibri, Op. 2, No. 7
Duparc Chanson Triste
Mahler “Des Antonius von Padua Fischpredigt” from Des Knaben Wunderhorn
Mozart Als Luise die Briefe, K 520
Puccini “Quando m’en vo” from La Bohème
Rachmaninov Veter perelyotny (The Migrant Wind), Op. 34, No. 4
Ravel Don Quichotte à Dulcinée
Schubert Der Hirt auf dem Felsen, D 965
Sibelius Violin Concerto in d minor, Op. 47 (Allegro moderato)
Vaughan Williams “The Vagabond” from Songs of Travel
Vaughan Williams “Whither must I wander?” from Songs of Travel

How to Make More Money in the Arts: Ask!

We’d all like to earn more money, but asking for a raise or negotiating your fee in an endangered arts economy can feel awkward at best and inappropriate at worst. Working in an industry where cost-of-living raises and annual salary reviews are not the norm, you most likely won’t receive higher pay unless you ask.

I offered my advice on negotiating fees at the Boston Singers’ Resource blog today. I hope it inspires you, and I wish you success!

Memories of John Oliver

Below are some anecdotes of John Oliver that I remember fondly. My formal tribute to John Oliver is published on the MIT web site, along with those of my colleagues.

* * *

Early in my TFC career, John approached me during a rehearsal break. “May I get your opinion on something?” he asked, pulling a carefully folded paper from his pocket. I panicked inside, assuming he was going to test his “newbie” with a musical question. Much to my relief and surprise, John showed me an advertisement for a 3-in-1 printer/scanner/copy machine. “That will be really useful to have in the office! And such a space saver,” I offered with far too much enthusiasm. “Good! I thought so,” John said, as he tucked the paper away back in his pocket.

* * *

One time in the Symphony Hall basement, I passed John on his way to the vending machines, and he asked if I had change for a two or a five. “A two?” I asked. “I always ask for two-dollar bills at the bank. That’s how they remember me,” he said.

* * *

Many years ago I had a coaching with John Oliver. At the end of the coaching, I asked how much I owed him for his time. He had already started walking from the piano back to his office and without turning around or pausing he said, “Nah, you’re family.”

* * *

(I guess technically this is an anecdote about me, but anyway.) Whenever people talk about how nobody reads print newspapers anymore, I always chime in, “Actually John Oliver buys four papers every morning!”

* * *

During a rehearsal of Bach’s Singet dem Herrn, John stopped the chorus, dissatisfied with the sound. “Don’t sing with your special Bach voices. Sing with the voice God gave you,” he said. These words of wisdom have become a personal motto for many of us.

* * *

July 26, 2017 was the last time I saw JO. I visited him with my friend and TFC “stand-mate” Jeni Cameron, and he was in such high spirits. In his living room, he had a framed “Missing Dog” flyer. He knew neither the owner nor whether they found the dog, but he thought the dog was cute! He told us about his friend Jim’s grandchildren and how kids were “the most astonishing thing,” a phrase he’d previously used only to describe great music and singers. He showed us pictures from the time Jim dressed him up in motorcycle gear and took him for a ride up and down the street. And, of course, he told stories about Leinsdorf, Lenny, Seiji, and Phyllis, all of which we’d heard before but were happy to hear again. Oh, what I would give to hear those stories again…I miss you, JO.


Related reading: Reflections on John Oliver and the Tanglewood Festival Chorus