Tools To Assist When Writing A Professional Vocal Ensemble Concert Review
When writing a concert review, it is best to begin with the fundamentals of music. Using
the following areas will help you to be a better listener and also enable you to use the
correct and appropriate vocabulary for describing the performance you are viewing.
Please use the following as a guide to your listening experience and in communicating to
others what you have heard.
Remember you are not critiquing the composers’ music but the ensembles’ performance
of the music. You don’t want to be describing the way the melody is but rather if and
how the performers are executing it and if you feel it was communicated successfully.
Elements of Music
Melody
Harmony
Rhythm
Dynamics
Texture
Timbre
Choral Music Techniques
Intonation
Balance of ensemble
Blend of ensemble
Expression
Diction
Communication between conductor/ensemble
Other Factors Relating To Performance
Presentation
Appearance
Concert Hall
Rubric for Concert Review
50 Points Total
Review Follows Required Format - 10 Points
Perfectly ( 9 - 10 ) Mostly ( 7 - 8 ) Fairly ( 5 - 6) Very Little ( 3 - 4) Not at all ( 1 - 2 )
Description of the context of the concert including date and place. 10 points
Context includes all of the aspects of presentation including the manner of staging as well as the dress and
behavior
of the audience and musicians. ( 9 - 10 )
Context of concert is fully described. (7 - 8)
Context of concert is partially described. (5 - 6)
Context of concert and personal reaction are jumbled together. (3 - 4)
Only personal reaction is given. (1 - 2)
Stylistic description of the music at the concert. 10 points
Clear explanation of appropriate details of the pieces. (9 - 10)
Lack of clarity of description (7 - 8)
Description of the musical details is not always in musical terms. (5 - 6)
Piece are described in emotional not musical terms. (3 - 4)
Confusing information concerning the pieces. (1 - 2)
Critical commentary and conclusions regarding the concert and its music. 10 points
Identification of issues worthy of critical discussion. Full and clear consideration of those ideas. ( 9 - 10 )
Identification of issues worthy of critical discussion. Consideration of ideas is mostly focused and not too
vague.
(7 - 8 )
Identification of issues worthy of critical discussion. No consideration of ideas. (5 - 6)
No identification of issues worthy of critical discussion. Consideration of ideas is unfocused or vague. (3 4)
No identification of issues worthy of critical discussion. No consideration of ideas. (1 - 2)
Grammar, form and writing style. 10 points.
Few grammatical errors. ( 9 - 10 )
Inappropriate use of language for this level of class and grammatical errors. Use of slang superlatives
such as “intense,” “awesome,” or “amazing.” (7 - 8 )
Lack of attention to spelling or grammar (5 - 6)
Good form. Each paragraph has a topic sentence and sticks to the topic. (3 - 4)
Topic sentences are unclear or paragraph form is slightly confused. (1 - 2)
A Sample Formal Report/Format
Below is a concert report written by a college student, which should be helpful as an example of
content, vocabulary, and usages. (You’ll notice that this student has followed a format requested
by her instructor.) Students must follow this format when writing all professional reviews.
Name: Peggy Skipitaris
Course: Introduction to Music
Date: December 9, 1991
Concert: New York Philharmonic (December 3, 1991)
Type of concert: Symphony orchestra
General reaction: I was impressed with the construction of the concert hall-Avery Fisher Hall at
Lincoln Center-and with its wonderful acoustics. The visual grandeur of the orchestra and the
attentiveness of the audience heightened my sense of excitement.
Composition I liked best: The piece I enjoyed most was Till Eulenspiegel’s Merry Pranks, Op.
28, by Richard Strauss, a one-movement work in rondo form, with various tempos. This
symphonic poem was written in 1895-during the romantic era, when program music was
prominent-and is based on a German folk tale about a famous prankster. Strauss uses the rondo
form as a framework for the episodes of Till’s adventures: after each prank, Till laughs at his
pursuers and saunters off. When he is finally caught and hanged, his last gesture is to thumb his
nose at his executioners. Although the piece deals with death, and such unhappy programs are
usually in minor, I hear this composition start in minor, but end in major. The meter varies, as
does the tempo-which is basically very lively but at times becomes moderate, slower, or even
faster.
This work can be compared with another one-movement symphonic poem that deals with
the death of its protagonists: Tchaikovsky’s Romeo and Juliet. Tchaikovsky chose sonata (rather
than rondo) form; his composition is in minor, the meter is duple, and- as in Till Eulenspiegel- the
tempo varies. The basic mood of the two works differs significantly: in Romeo and Juliet, it is
love-rather than mischief-that triumphs over death.
Strauss introduces his hero with a lyrical opening theme (the horn). But the second
theme reflects agility, deviltry, energy, and unpredictability. Both themes return often as we hear
Till get into and out of “hid and seek” and “catch me if you can” situations. The ending is grander,
more exciting version of Till’s first theme. Throughout, Strauss conveys the story and mood by
contrasting solo and orchestral passages. The funeral after Till’s hanging is interrupted several
times by Till’s horn theme, suggesting his refusal to die.
In Romeo and Juliet, the slow introduction is a hymn-like melody (Friar Lawrence’s
theme) which leads to a violent, fast theme that identifies the warring families, Romeo and Juliet
themselves are identified by a lovers’ theme.
In both works, funeral music indicates death. Tchaikovsky uses Romeo’s theme as a
dirge but follows it by the gentle lovers’ theme, which implies that these lovers will be reunited in
death. Strauss, on the other hand, concludes Till Eulenspiegel with Till’s nose thumbing theme.
Till’s spirit-like Romeo’s and Juliet’s lives on, but it is obviously a very different kind of spirit.
Listening to Romeo and Juliet brought me close to tears while Till Eulenspiegel brought a
smile to my lips.
Performance of this work: Wonderful! I was glad that Till Eulenspiegel was the final work on the
program, as it left me in a very uplifting mood. I marveled at the fact that, through his music,
Strauss enabled me to see the actions described in the program.
Overall Performance: Totally professional in every respect.