Instructions: Review the Concert Critique Example before writing your own critique. Then, write your own critique.

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

    1. Context. Give the background and general performance information.
    1. Impressions. The most important part of your review should consist of your individual perspectives on the component parts of the entire performance.
    1. 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.
    1. Performance Qualities.
        1. Write one paragraph (3-4 sentences) about each piece or movement performed.
        1. List the title/composer and write brief historical notes.
        1. Using the knowledge that you gained in this course, explain the strengths and weaknesses of each performance.
            1. Include three musical aspects (melody, rhythm, harmony, form, expression/dynamics)
    1. Response. How did the audience react to each piece in the performance?
    1. Programs. To what extend did the printed programs help you with this critique?
    1. Additional Aspects.
        1. When/Where did the work premier? (Ex: 1891, London England, Queen’s Court)
        1. Was the original performance considered to be a success or a failure? Explain.
        1. Were the performance pieces considered standard repertory today? Or, were they obscure?

Due FRIDAY 11-11-22 BY 3PM EST


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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,

Hamburg (1733)

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!


Sources:,. ‘Rebel History’. N. p., 2015. Web. 2 Mar. 2015.,. ‘Spivey Hall Concert Program Notes’. N. p., 2015. Web. 2 Mar. 2015.


he “live” concert critique should follow the Listening and Writing Listening Assignment format, but will be a longer version. MLA Format.


When you go see a live concert, you want to be able to write about it. You want to remember what you heard and saw in order to share it with your friends later on. A good way of doing this is by writing about the performance in detail using MLA format. This will help ensure that your paper meets all criteria for academic success: citation of sources and proper use of formatting conventions throughout

Performers (instruments and vocalists)

In the third paragraph of your essay, list each performer and instrument or vocalist. You can also include a brief description of their performance in the fourth paragraph. For example: “The violin solo by [the first name] was beautiful. The Gospel Choir sang beautifully during the intermission.”

Numbered List

List the performers.

List the instruments.

List the vocalists, if you wish to include them in your review.

1. Name the artist (if appropriate) and the instrument or voice part. If the performer is instrumental, state their name, instrument, and section (e.g., “Charlie Parker, alto saxophone,” or “Helen Humes, vocals”).

Name the artist (if appropriate) and the instrument or voice part. If the performer is instrumental, state their name, instrument, and section (e.g., “Charlie Parker, alto saxophone” or “Helen Humes, vocals”).

Briefly describe your experience with this piece/performance by citing specific elements that you heard and noticed during it, including: tempo/rhythm; pitch range; tone quality; articulation (sustain vs dynamics); dynamics (loudness); timbre (tone color).

Performance Location

The performance location is an important part of the concert experience. You can have a large audience in front, a small one in the back or even just one person. This will influence how you perform your music and how you interact with your audience.

Performance spaces can be a variety of different places including:

A concert hall with seating for hundreds or thousands of people

A church where there might only be 30-40 people attending each service on any given Sunday morning (but this may not always be true)

1. Site and admission/seat information

Site and admission/seat information

Other details about the event, such as the date, time and place where it will be held (if known).

Performance Environment

How was the performance space?

Was it comfortable? If not, did you find yourself uncomfortable in any way during your experience at that venue?

Was there an audience of any size present at all times throughout the concert? If so, how many people were there in total and how did they behave during the show?

Were there any other sensory impressions that you experienced during this experience that may have helped or hindered your enjoyment of it (i.e., smells or sounds)?

2. Are there other musicians performing? Is it a jazz band or art song recital? Or is it a one-man show? Is there a screen in front of the stage to show images of the music being played? Is there a light show with colored lights rotating while they play? What do you see when you first enter this place? Describe in detail since you are only going to be exposed to these elements for this one time. Notice the lighting, stage design and décor, audience members etc. What is your first impression of the space and environment? What kind of impact do they have on the music performed? How do they complement or detract from the performance? Do not forget to talk about any other sensory impressions that you experience during the concert such as smells (incense/drum sticks/cologne/musk/alcoholic beverages), sounds (audience coughing/cheering/clapping), feelings of temperature changes etc.? How does it change the performance for you as an audience member?

The performance environment is what you will be exposed to during a live concert. It can range from small jazz clubs to large opera houses, with everything in between. The performers themselves can be soloists or with an ensemble that includes multiple musicians. You might find yourself at a rock concert where there are only two people on stage playing guitar and singing, or at a symphony where there are hundreds of people standing in rows behind the orchestra pit listening intently as they play their instruments (and perhaps applauding).

The audience members may vary widely depending on how many tickets were sold for this particular event and how much money was spent by the organization producing it – but regardless of these factors: they generally behave similarly regardless of genre or style!


In conclusion, you should always maintain your critical analysis by staying neutral and objective while analyzing the music in a way that is not subjective. The best way to do this is by taking notes on what exactly it was like to hear them play as well as what your first impression was when entering the concert venue with all of its sensory stimulation. We would love to hear from our readers about their experiences at live concerts! Please share in the comments below or email us directly at (make sure it is an email).

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