11 Nov Review the Concert Critique Example before writing your own critique. Then, write your own critique. Concert Critique Guidelines Context. Give the background and general performance
Submit a 600-800 word written critique for each. The “live” concert critique should follow the Listening and Writing Listening Assignment format, but will be a longer version. MLA Format.
Instructions: Review the Concert Critique Example before writing your own critique. Then, write your own critique.
Concert Critique Guidelines
- Context. Give the background and general performance information.
- Impressions. The most important part of your review should consist of your individual perspectives on the component parts of the entire performance.
- Likert-Type Scale Rating. Using a Likert-type scale rating from 1 (lowest) to 100 (highest), rank the performance based on the overall quality, personal enjoyment, setting, etc.
- Performance Qualities.
- Write one paragraph (3-4 sentences) about each piece or movement performed.
- List the title/composer and write brief historical notes.
- Using the knowledge that you gained in this course, explain the strengths and weaknesses of each performance.
- Include three musical aspects (melody, rhythm, harmony, form, expression/dynamics)
- Response. How did the audience react to each piece in the performance?
- Programs. To what extend did the printed programs help you with this critique?
- Additional Aspects.
- When/Where did the work premier? (Ex: 1891, London England, Queen’s Court)
- Was the original performance considered to be a success or a failure? Explain.
- Were the performance pieces considered standard repertory today? Or, were they obscure?
Due FRIDAY 11-11-22 BY 3PM EST
Music Appreciation 1100
Module 7 Second and Final Concert Review
I was fortunate enough to be able to attend a concert at the college. It was performed by a group
named REBEL. The concert was named BAROCCO: Musical Treasures of 17th- & 18th-
Century Europe on 03/01/2015 @ 15:00. This concert is a live performance that includes works
for the recorder/flute, two violins, cello, and harpsichord. The two selections performed on the
program are as follows:
1) Georg Philipp Telemann’s Quartet in G major TWV 43, G2, from Musique de Table I,
Georg Philipp Telemann (1681-1767), a German composer of the late baroque era, was one of
the leaders of the Hamburg school during its preeminence in Germany. Georg Philipp
Telemann was born in Magdeburg on March 14, 1681. He was educated there and in Hildesheim.
My favorite piece that was performed was Georg Philipp Telemann’s Quartet in G major, the
quartet in G incorporates an arrangement later dignified into the classical minuet/trio. Both of the
movements are three-way in lay out, containing two opposing sub-movements, one that serves to
frame the other. The first measure assumes a Largo-Allegro-Largo structure, while the second
movement, Vivace-Moderato-Vivace, and reverses the rhythms of the sections. The third
movement was a brief switch into the final vivace, a gigue that comes from the standard dance
suite, but frequently formed the final measure of a sonata.
This piece was delightfully played. The balance among the ensemble in the auditorium venue
was so fine-tuned-performed as if rehearsed here for several years. Telemann’s structured
harmonies were representative of the era. The performance on original instruments of the era of
the composition further enhanced the significance of the performance.
2) Antonio Vivaldi’s Concerto da camera in G major, RV 101
Antonio Vivaldi (1678-1741) was an Italian violinist and composer whose concertos were widely
known and influential throughout Europe. Antonio Vivaldi was born in Venice on March 4,
1678. His first music teacher was his father, Giovanni Battista Vivaldi.
I also enjoyed Vivaldi. This was a very prominent composer but also an instructor at the
orphanage. I didn’t realize this orphanage was for both boys and girls until this performance. I
had read that he helped out at the all-girls orphanage and I can only assume that this is due to the
fact that he worked closely with the girls and not the boys.
This selection, originally written for solo recorder, oboe, bassoon, or violin with the rest of the
ensemble in continuo (accompaniment of the ers). The violin was featured in today’s
performance. The technique demonstrated was quite artistic though quite demanding. The
musicians seemed to play the rapid passages with ease.
Overall I loved the artists and the fun and enjoyment they put into their work. It was not what I
had pictured a musical concert of this sort to be. I even think my 12 year old son would have
loved the show. These musicians were masters at their craft and represented the
artists/composers very well.
The Group was named after the pioneering French Baroque composer Jean-Féry Rebel (1666-
1747), the group REBEL was originally formed in The Netherlands in l99l. Through the 5th
International Competition for Ensembles in Early Music, 1991 (now the Van Wassenaer
Competition) REBEL was bestowed first prize. The ensemble has been performing at venues
throughout Europe at several prestigious set ups to include the La Chapelle Royale (Versailles),
Internationale Festtage für Alte Musik (Stuttgart), Tage Alter Musik (Regensburg) and the
Händel Festspiele (Halle an der Saale, Germany), amongst several others.
This atmosphere in the performance was almost indescribable. Words cannot communicate the
energy justly. The atmosphere of the performance was so charged that I could hardly wait to hear
the first note as it was released from the friction created between the bitter sweet relationship of
the bow and string. As I suspected it was magical. To hear the melody reverberate through the
cavity in your chest is unlike anything produced on a digital soundtrack. It caused an instant
awakening of my senses that everything was magnified. My pulse rang out as it raced with the
melody as it quickened. The audience was entranced and almost nobody moved or uttered a
sound but were captivated by the performance.
The printed program provided historical context of the composers, selections and the bios for the
performers. It contributed to the understanding and appreciation of the performance. All the
performers came from various locations and had diverse training in music. Information of how
to buy CDs and downloads of the ensembles recording was included in the program.
They were very professional and yet looked like they were playing together for fun. I have
enjoyed this class and all of the material covered will live with me forever. I think of music
totally differently than I had before and it only served as the key to open the door. My
exploration has only just began. Thank You!
Rebelbaroque.com,. 'Rebel History'. N. p., 2015. Web. 2 Mar. 2015.
Spiveyhall.org,. 'Spivey Hall Concert Program Notes'. N. p., 2015. Web. 2 Mar. 2015.
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