Concert Review Assignment Guidelines
Write ONE concert review. The source can be from a YouTube video of a concert performance or a live DVD or Blueray of a concert performance. The concerts of your choice would need to fit the following criteria. The concert may be Classical, World Music, Jazz, Choir or Band concert, or Opera… all genres for which you can write a review applying the concepts learned in class about how and what to listen to when you hear a piece of music. For example: think about the rhythm, the melody, the color, dynamics, texture, style, etc. If you can't find one to use, here is a list of selected videos from which you can choose:
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Beethoven's 9th Symphony: https://youtu.be/rOjHhS5MtvA
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Classical Guitar Recital: https://youtu.be/8IEezGQwgZk
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Jouquin Rodrigo's Concerto de Aranjuez: https://youtu.be/-oxH-7VklBI
Keep in mind to include these things in your review:
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When and where did the concert take place? How long did it last?
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How many pieces were performed? What were they called and how many movements were in each? Who composed each piece?
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Who were the performers (name of the ensemble and/or names of the soloists)?
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If there was a conductor, what was his or her name?
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What was the instrumentation?
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What was the timbre (tone color) of each instrument during the piece?
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What dynamics and tempos were utilized in each piece?
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What was the texture of each piece? (Monophonic, Polyphonic, or Homophonic)?
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Was there any special purpose to the concert? If so, explain.
The Concert as a Whole:
You should begin your report with a brief description of the concert you watched, including the name and type of the performing group or soloists, the place, the date and time, the audience, and the purpose of the concert.
Formatting Instructions:
The review should be a 500-750 word paper with 12 font size, font style Times New Roman and double spaced.
The essay
Concert Review: Beethoven’s Symphony No. 9 in D minor, Op. 125
Concert Review: Beethoven’s
Symphony No. 9 in D minor, Op. 125
Performance by: West-Eastern Divan Orchestra, conducted by Daniel Barenboim
Venue: BBC Proms, Royal Albert Hall, London
Date: July 2012
Duration: Approx. 70 minutes
The concert I chose to review was a
stunning performance of Ludwig van Beethoven’s Symphony No. 9 in D minor, Op.
125, famously known as the “Choral Symphony.” The performance was held at the
iconic Royal Albert Hall in London as part of the BBC Proms 2012 season.
Conducted by the legendary Daniel Barenboim and performed by the West-Eastern
Divan Orchestra, this event stood not only as a musical celebration but also as
a cultural and political statement—bringing together musicians from countries
of the Middle East to promote peace and dialogue through music.
This monumental symphony lasted
around 70 minutes and consists of four movements, each distinct in character
and emotion:
1. Allegro ma non troppo, un poco maestoso
2. Molto vivace
3. Adagio molto e cantabile
4. Presto – Allegro assai (Ode to Joy)
The composition was written by
Ludwig van Beethoven in the early 1820s and premiered in 1824. It was his final
complete symphony and a landmark in the history of Western classical music due
to its groundbreaking use of choral elements in the final movement.
The orchestra featured full
classical instrumentation: strings (violins, violas, cellos, double basses),
woodwinds (flutes, oboes, clarinets, bassoons), brass (horns, trumpets,
trombones), percussion (timpani), and vocal soloists (soprano, alto, tenor, bass),
along with a full choir. The instrumental timbre ranged widely throughout the
piece. The strings provided warmth and agility; the woodwinds added brightness
and playfulness; the brass contributed majesty and weight; and the timpani
emphasized tension and climactic moments. Each instrument’s tone color was
carefully blended to reflect Beethoven’s orchestral brilliance.
The dynamics were dramatically
varied throughout the symphony. In the first movement, strong dynamic contrasts
reflected a sense of struggle, shifting between thunderous crescendos and
hushed tension. The tempo here was moderate, with sections of accelerating
intensity. The second movement was brisk and rhythmic, with pronounced accents
and energetic pacing. The third was serene and lyrical, with a slower tempo and
subdued dynamics, offering a moment of introspection. The fourth movement,
famously containing the “Ode to Joy” theme, erupted with vibrant tempo changes
and expressive dynamics—ranging from quiet solo lines to grand fortissimo
sections sung by the choir and soloists.
The texture of the symphony evolved
across the movements. The first and second movements showcased a polyphonic
texture, with intertwining instrumental lines. The third movement leaned more
toward homophony, with melodic lines accompanied harmoniously. The final
movement was both homophonic and polyphonic, culminating in a rich, layered
choral and orchestral texture during the climax of the “Ode to Joy.”
The solo vocalists—Anna Samuil
(soprano), Waltraud Meier (mezzo-soprano), Michael König (tenor), and René Pape
(bass)—were outstanding. Their entry in the fourth movement signaled a turning
point, transitioning the symphony from the realm of instrumental drama to a
transcendental, humanistic message of unity and brotherhood. The choir,
consisting of singers from various international backgrounds, delivered a
powerful and moving rendition of Friedrich Schiller’s poem “An die Freude.”
The purpose of the concert extended
beyond a musical performance. The West-Eastern Divan Orchestra, co-founded by
Barenboim and Palestinian scholar Edward Said, is a symbol of unity and
cooperation among young musicians from Israel, Palestine, and other Arab
countries. Performing Beethoven’s 9th—a universal anthem for peace and
brotherhood—was a conscious and profound artistic choice. The audience
responded with a standing ovation, applauding both the musical mastery and the
political significance.
In conclusion, this performance was
a compelling example of how classical music transcends barriers. The
musicianship, the depth of Beethoven’s score, and the symbolic context of the
orchestra made this concert both artistically and emotionally unforgettable.
Through its intricate rhythms, memorable melodies, rich timbres, and expressive
dynamics, this concert offered an immersive experience that reaffirmed music’s
power to inspire and unite.
Concert Review: Beethoven’s Symphony No. 9 in D minor, Op. 125
Concert Review: Beethoven’s
Symphony No. 9 in D minor, Op. 125
Performance by: West-Eastern Divan Orchestra, conducted by Daniel Barenboim
Venue: BBC Proms, Royal Albert Hall, London
Date: July 2012
Duration: Approx. 70 minutes
The concert I chose to review was a
stunning performance of Ludwig van Beethoven’s Symphony No. 9 in D minor, Op.
125, famously known as the “Choral Symphony.” The performance was held at the
iconic Royal Albert Hall in London as part of the BBC Proms 2012 season.
Conducted by the legendary Daniel Barenboim and performed by the West-Eastern
Divan Orchestra, this event stood not only as a musical celebration but also as
a cultural and political statement—bringing together musicians from countries
of the Middle East to promote peace and dialogue through music.
This monumental symphony lasted
around 70 minutes and consists of four movements, each distinct in character
and emotion:
1. Allegro ma non troppo, un poco maestoso
2. Molto vivace
3. Adagio molto e cantabile
4. Presto – Allegro assai (Ode to Joy)
The composition was written by
Ludwig van Beethoven in the early 1820s and premiered in 1824. It was his final
complete symphony and a landmark in the history of Western classical music due
to its groundbreaking use of choral elements in the final movement.
The orchestra featured full
classical instrumentation: strings (violins, violas, cellos, double basses),
woodwinds (flutes, oboes, clarinets, bassoons), brass (horns, trumpets,
trombones), percussion (timpani), and vocal soloists (soprano, alto, tenor, bass),
along with a full choir. The instrumental timbre ranged widely throughout the
piece. The strings provided warmth and agility; the woodwinds added brightness
and playfulness; the brass contributed majesty and weight; and the timpani
emphasized tension and climactic moments. Each instrument’s tone color was
carefully blended to reflect Beethoven’s orchestral brilliance.
The dynamics were dramatically
varied throughout the symphony. In the first movement, strong dynamic contrasts
reflected a sense of struggle, shifting between thunderous crescendos and
hushed tension. The tempo here was moderate, with sections of accelerating
intensity. The second movement was brisk and rhythmic, with pronounced accents
and energetic pacing. The third was serene and lyrical, with a slower tempo and
subdued dynamics, offering a moment of introspection. The fourth movement,
famously containing the “Ode to Joy” theme, erupted with vibrant tempo changes
and expressive dynamics—ranging from quiet solo lines to grand fortissimo
sections sung by the choir and soloists.
The texture of the symphony evolved
across the movements. The first and second movements showcased a polyphonic
texture, with intertwining instrumental lines. The third movement leaned more
toward homophony, with melodic lines accompanied harmoniously. The final
movement was both homophonic and polyphonic, culminating in a rich, layered
choral and orchestral texture during the climax of the “Ode to Joy.”
The solo vocalists—Anna Samuil
(soprano), Waltraud Meier (mezzo-soprano), Michael König (tenor), and René Pape
(bass)—were outstanding. Their entry in the fourth movement signaled a turning
point, transitioning the symphony from the realm of instrumental drama to a
transcendental, humanistic message of unity and brotherhood. The choir,
consisting of singers from various international backgrounds, delivered a
powerful and moving rendition of Friedrich Schiller’s poem “An die Freude.”
The purpose of the concert extended
beyond a musical performance. The West-Eastern Divan Orchestra, co-founded by
Barenboim and Palestinian scholar Edward Said, is a symbol of unity and
cooperation among young musicians from Israel, Palestine, and other Arab
countries. Performing Beethoven’s 9th—a universal anthem for peace and
brotherhood—was a conscious and profound artistic choice. The audience
responded with a standing ovation, applauding both the musical mastery and the
political significance.
In conclusion, this performance was
a compelling example of how classical music transcends barriers. The
musicianship, the depth of Beethoven’s score, and the symbolic context of the
orchestra made this concert both artistically and emotionally unforgettable.
Through its intricate rhythms, memorable melodies, rich timbres, and expressive
dynamics, this concert offered an immersive experience that reaffirmed music’s
power to inspire and unite.
Source of the concert video:
Beethoven Symphony No. 9 - West-Eastern Divan
Orchestra (BBC Proms 2012)
Available at: https://youtu.be/rOjHhS5MtvA
Concert Review: Joaquín Rodrigo’s Concierto de Aranjuez
Concert Overview
The review focuses on a live performance of Concierto de Aranjuez by
Joaquín Rodrigo, presented by the EU's youth orchestra and presented by the
famous guitarist Pepe Romero. The concert took place on August 3, 1983 as part
of the BBC Proms series at Royal Albert Hall in London. The audience was fully
engaged, responded with enthusiastic applause after each movement. The show
lasted for about 22 minutes and showed only the famous guitar concerts of
Rodrigo, which is structured in three movements.
The Composition and Performers
Concierto de Aranjuez (1939) is one of the most celebrated works in the classical guitar
repertoire, composed by Spanish maestro Joaquín Rodrigo. Though blind, Rodrigo
skillfully wove together Baroque and Classical styles with Spanish folk music,
crafting a distinctive sound. The concerto unfolds in three movements:
- Allegro con spirito – A
lively and rhythmic opening.
- Adagio – A profoundly emotional and
lyrical movement.
- Allegro gentile – A
graceful and dance-like finale.
Famous for his emotive and virtuoso guitar playing, the soloist is Pepe
Romero. Claudio Abbado led the European Union Youth Orchestra, which gave a
vibrant and rich accompaniment. Strings, woodwinds, brass, and percussion made
up the ensemble, but the orchestration was purposefully subdued to prevent the
guitar's delicate sound from being overpowered.
Musical Elements and Performance Analysis
Instrumentation and Timbre
The concerto makes extensive use of the warm, personal, and
slightly percussion-like tone of the classical guitar. Particularly throughout
the lyrical sections, Pepe Romero's performance was distinguished by its
singing tone and clear articulation. In the second movement, the woodwinds,
especially the oboe, echoed the guitar's motifs against the orchestra's lush
backdrop. While the percussion (such the castanets in the third movement)
emphasized the Spanish character, the French horns and strings offered depth
and richness.
Dynamics and Tempo
The first movement (Allegro con spirito) was energetic, with
sharp dynamic contrasts between the guitar’s delicate passages and the
orchestra’s bold interjections. The second movement (Adagio) was deeply
expressive, with Romero employing rubato to heighten the emotional intensity.
The tempo was slow and meditative, allowing the haunting melody to resonate
fully. The final movement (Allegro gentile) was bright and dance-like,
with a playful interchange between the guitar and orchestra.
Texture
The concerto mostly uses a homophonic texture, with the orchestra
supporting the harmonics and the guitar delivering the melody. Nonetheless,
there are instances of polyphony, especially during conversations between the
woodwinds and guitar. The English horn opens the second movement monophonically
before the guitar joins, producing a moving contrast.
Purpose and Reception
The BBC Proms, an annual summer festival, included this performance
with the goal of bringing classical music to a wider audience. Concierto de
Aranjuez was a suitable option since it is both technically stunning and
emotionally compelling, making it suitable for both novice and experienced
classical listeners. A standing ovation was given by the audience, who were
especially struck by the mournful beauty of the second movement.
Conclusion
Pepe Romero and the European Union Youth Orchestra delivered a
captivating performance of Rodrigo’s Concierto de Aranjuez, blending flawless
technique with deep emotion. The concert was unforgettable, with its vibrant
Spanish rhythms, dramatic shifts, and the beautiful interplay between guitar
and orchestra. It not only highlighted Rodrigo’s genius but also showed how the
classical guitar can convey both intimacy and grandeur.
Source of the concert video:
Rodrigo, J. (1939). Concierto de Aranjuez [Live concert recording]. European
Union Youth Orchestra, C. Abbado (Conductor), P. Romero (Guitar). BBC Proms,
Royal Albert Hall, London. YouTube. https://youtu.be/-oxH-7VklBI
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