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Then, the most jarring thing. Between movements, the audience clapped. Now this audience was fairly large for this area (150-200ish) but fairly unsophisticated musically. Thus, I wasn't surprised when they clapped between movements of Haydn, Piazzola, etc. Normally I don't think much of it, however, the applause in the Dvorak seemed almost sacriligeous, due to the mood the musicians had painted and the way that was broken. It was terrible...I found myself shaking my head and covering my ears, especially between the 3rd and 4th movements. I was feeling almost robbed.

I've often wondered why we musicians don't do a bit of educating in the process, explaining in advance that a work is a whole, a unit, and that we don't break that unit up with applause. Would it be so terrible to explain and ask that in advance? More aware concert-goers would probably be grateful, and less experienced ones might appreciate knowing 'the rules' so they don't feel embarrassed for applauding inappropriately. Why don't we do this?

By the way, in January, I saw Hilary Hahn performing Tchaikovsky's violin concerto in Baden-Baden (Germany). The first movement is very difficult and has a furious end (as you all know ...). When that first movement was over, there was an extreme tension in the concert hall. Everybody had to calm down, and even Hilary Hahn gave clear signs of relief (I was sitting in first row and could hear her exhale). The audience was well educated, and they saved their applause, but I can tell you it was hard work to overcome this natural reaction.

But, on the other hand, who IS your audience? Is it the people sitting there right in front of you, listening to you play? Or is it the musical purists (performers, critics, educators), furious that a religious rite has been violated by applause between movements? Or is it the ghost of the long-dead composer, angry that some people would have the audacity to actually interrupt the product of their genius?

Frankly, I like Rubenstein's sentiment. And in addition, if the movements of a concerto are interrupted because the audience is spontaneously throwing applause at you, just be happy that they're not spontaneously throwing applesauce.

"During the rehearsal, you may notice that the artists will sometimes sing full voice, sometimes half voice, and sometimes not at all -- according to their option. We ask that you all please refrain from applause, laughter, or talk -- anything that might make the artists unduly conscious of your presence" -- a request clearly spelled out in the instructions mailed with the rehearsal passes.

Ballo, on the other hand, as those who have studied the score will know, has plenty of show-stoppers. Still, I found the drama more gripping, more convincing, in rehearsal than in performance -- without all the stopping and starting. A strong example of this was Amelia's Act II opening scene and aria, followed immediately -- no break for applause -- by her post-midnight rendezvous with Riccardo.

September 29, 2008 at 05:57 AM I don't think it's that big a deal. I'm on stage a lot more often than I'm in the audience, and it's nice to know the audience is enjoying the performance. Normally people applaud only at big rousing endings; so the first movement of the Tchaikovsky concerto is liable to get applause, but the first movement of the Barber not so much. Usually people are sufficiently tuned in to the mood that they can tell when clapping would break the spell. USUALLY.

September 29, 2008 at 07:38 PM Hey, guys, lighten up a little. Our economy is going south, we're bailing out every sector of the economy, we're stuck in wars and social strife and all kinds of world grief. In the grand scheme of things, applause or coughing between movements of a concerto or sonata is not a critical problem. Obviously, this is an issue worthy of discussion and debate, but it's not worthy of personal arguments.

September 29, 2008 at 07:52 PM @Bruce: I agree completely that I'd prefer applause between movements over no applause (or over booing ;-), or over an audience being so confused they don't know when to applaud. And I still think a little more humor on both sides would go a long way. There's a funny article from a few years ago in The Guardian about a cellist who threw flowers at a man in the front row who fell asleep, and whose "head kept appearing at horribly regular intervals beneath the stand, before being jerked back by his indefatigable neck" as he nodded off.

October 2, 2008 at 05:13 PM I always thought that applauses between the movements was a kind of american tradition (I never experienced it in Europe..). Once in Israel, half the audience clapped after the first mvt of Mahler's first(I presumed they were americans), the other didn't and tried to silence them..The conductor (Zubin Mehta, with an international young musicians orchestra))turned to the audience and said: ladies and gentelmen, this is a very happy evening and I am glad to be here with you, so if you want to clap, go on!!

I am venturing to say that the format of classical music has changed because the role of classical music has changed. It used to be a form of entertainment. Entertainment can be taken in stride (as I so unfortunately experience at my local movie theater where I wish I could experience true silence but alas cannot due to the timely ringtones of mobiles).

October 12, 2008 at 07:19 PM My son and I and a few friends went to the symphony last night and had the privilege of watching Nadja Solerno-Sollenberg play Shoshtakovitch's Violin Concerto No. 1. I have to confess that a few of us in the audience broke out in a little applause at the end of the second movement because she was just so, well, *SO* *MUCH*! It was as if she'd run a marathon! Her antics were jaw dropping, not in a bad way, but you just felt you had to acknowledge her after that movement. However, I promise never to applaud in between movements, even when Sollenberg is playing.

April 29, 2010 at 04:48 PM Sorry to resurrect this ancient thread...

The other night I went to Itzhak Perlman's recital. He first played Mozart's Sonata for violin and piano in A Major. Quite a few people in the audience applauded between movements. So, before he started Richard Strauss's Sonata for violin and piano in E flat major, he said "I just got a phone call from Mr. Strauss. He heard me play the Mozart Sonata, and told me that he did not appreciate applause between movements..." (I'm paraphrasing). Somehow, some people still managed to applaud after the 1st movement, and he shook his head. After that - no applause between movements. Before he started Stravinsky's Suite Italienne for violin and piano, he started with "I just got a phone call from Mr. Stravinsky..." and the audience all laughed and applauded... It was a fun night!

It's not even necessary for the purposes of the musicianship. There are tons of brilliant musicians in the world who soldier on in the face of inappropriate clapping, coughing, applause between movements, flash bulbs, and other supposedly intolerable distractions every day. Many of the world's best musicians have gone on with the show despite having things thrown at them -- and yet one tiny little cough will pop the classical musician's concentration like a soap bubble?

Erich Leinsdorf wrote of a concerto performance he gave with a young Andr Watts in New York. Much applause after the first movement, during which the conductor leaned over to the soloist and told him to get his butt off the bench and take a bow.

May 1, 2010 at 12:27 AM I haven't noticed any real indifference from classical concert audiences when applause breaks out after a first or second movement (or any that isn't the last one) of a piece. Sometimes I'm the first one to cringe thinking "omg there's a lot of newbies here tonight". But sometimes if it's really exciting or moving, there should be applause.

I don't know how she feels personally about applause between movements, but when I went to see Hilary Hahn at a recital in Troy a few years ago, the audience applauded after the 1st movement of the Franck Violin Sonata, and she seemed okay with it (She smiled politely. You make the call).

Yeah it may not be 'proper', it may break the mood, but if they are genuinely applauding - and sometimes you can tell when they're applauding because they really liked it or because they think it's at the end of the piece and it's time to applaud (what I call 'ignorant applause') - let them do it and be glad for it. :)

August 27, 2016 at 11:47 AM There's an amazing performance of Salvatore Accardo doing the Paganini "Nel Cor Piu Santo" _zyY After one incredible display of left-hand pizz. the audience, clearly knowing that the piece was not finished but bowled over, gave him a spontaneous and well-deserved round of applause. He was so focused that he did not even crack a smile - but I'm sure he appreciated it.

'Beethoven..... became increasingly conscious of the effect that the first.... note of one movement would have after the end of what preceded it.' However well-intentioned applause may be, it can potentially destroy this effect and therefore diminish the total experience. However, I recall a broadcast by the great Rudolf Serkin where he delivered a towering performance of the Waldstein sonata. Clearly the audience appreciated what they had witnessed and applauded after the end of the first movement - but it was sufficiently restrained so as not to destroy the continuity - a perfect compromise! 2351a5e196