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Doublereed Archive - Posting 000023.txt from 2004/06
From: PhilFrei@-----.com
Subj: [DR-L] Interpreting applause
Date: Mon, 7 Jun 2004 17:15:51 -0400
Hi folks -
It's fitting that we honor our President Ronald Reagan upon news of his death. But he was a highly controversial figure, so it is also fitting that there will be some heat generated. I'd like to defend both sides.
Concerning the recent comment that this list often lies dead, I'm wondering how much activity, and what quality of it is like over on the IDRS list. I let my membership lapse a while back (major tightening of the budget required), and have lost touch. I'd like to express my appreciation for this list and all its contributers, and the people I've met through it via personal emails!
I try to bring up topics of interest here now and again. Usually they are about my continued struggles with the oboe and various "ah-hah!" moments. Here's something less technique related that I've been musing about for a while now:
A couple years ago, as part of an early music festival in Berkeley, a group called "The King's Trumpetts and Shalmes," run by David Hogan Smith, performed. (I recommend his Purcell arrangements for double reed quartet.) I wish I had kept the program. I may have some details wrong.
It was a great performance. His group played in three configurations: using modern instruments (double reeds), a shawm-based group, and a crummhorn-based group. There may have been a sackbutt or such involved somewhere in there--my memory is kind of hazy. The pieces and performance where quite lovely, from madrigal-like works and counterpoint to lively dances. They got a very warm ovation at the end, and then pulled out one last piece as an encore.
I can't recall the name of the last piece, but it was more modern, and was either based on a train engine or line, or had something to do with a carousel. It was very energetic and fun and did sound a bit like it could have been used on a old carousel.
The applause after this encore was easily twice as loud as anything previous. And that is what had me musing a bit. Does applause vary simply because of the energy level differences in the works (but the renaissance dance tunes were also lively), or was there something more "serious" about early music and more "spontaneous" about the encore selection that influenced the amount of applause? Or does this indicate a potential preference for more "modern, but not too terribly serious" music for doublereed ensembles?
It was striking and curious at the time. I'm also reminded of choreographers pointing out how the applause frequently gets louder when the musician or musicians take a bow on their dance performances, seemingly getting more appreciation than the individual dancers who took bows. It seems like maybe it's not just about appreciation levels, but that there are some perceptual tricks involved, but I can't put my finger on it.
Interpreting applause can be tricky, and I think if you simply judge it by the "volume meter" it would be easy to be led astray. And I know there has to be genre-specific customs involved, too.
- Phil Freihofner
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