Vivien Schweitzer writes the New York Times review of Anne-Marie McDermott’s Town Hall recital, “Adventures in Piano, Haydn to Tatum”. Although it covers many of the aspects a reader looks for when reading a review of anything, it does miss a few important, informational requirements. The reviewer does not discuss the historical placement of the Haydn Sonatas, but does discuss the new music by Charles Wuorinen and Clarice Assad more thoroughly.
Schweitzer mentions the audience’s reaction toward the world premiere of Wuorinen’s new music piece and sets the piece in a historical framework, also characterizing Wuorinen’s work as a “proponent of serialist modernism”. She recognizes his place amongst his colleagues, stating that his music is “highly academic” compared to those of the Minimalist, neo-Romantic, border-hopping eclectic genre (thus discussing other genres of the time period). Finally, she also mentions that one of Wuorinen’s movements seems influenced by Scriabin, which distinguishes the influence of an earlier composer. In her review of “When Art Showed Up” by Clarice Assad, the references Art Tatum’s influence. She also discusses the instrumentation of the piece (for solo piano), and its Baroque, Classical and Jazz influence and allusions.
The review includes personal, emotional thoughts of the reviewer, which turns away from a more formal analysis. It is difficult for a concert review to be formal, unless the focus is on traditional, syntactical analysis, because it has to reflect the reviewer’s opinion.
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