Klarinet Archive - Posting 000070.txt from 2005/08

From: Adam Michlin <amichlin@-----.com>
Subj: Re: [kl] Apllause and other interriptions at concerts
Date: Sat, 06 Aug 2005 10:33:19 -0400

Further investigation into my recollection of Mahler's involvement in the
suppression of applause leads me to have to clarify that his suppression
was actually of the various factions within the opera house who would
applaud for their favorite singer (as well as taunt and hiss at their least
favorite singer). I imagine it would have a bit like going to a baseball
game. Mahler did not suppress applause in concert programs and is reported
to have welcomed the applause given to him after the each movement at the
premiere of his Third Symphony (the applause being led by a, ahem, little
known composer named Richard Strauss).

It seems that the culprit for the suppression of applause at orchestral
concerts was none other than Leopold Stokowski in the late 1920s.

This is a short paraphrase of the information found at:

http://www.therestisnoise.com/2005/02/applause_a_rest.html

Which includes some interesting references to Mozart's, Brahms', and
Wagner's thoughts and experiences on such applause. The author makes the
argument that the suppression of applause (particularly in the case of a
concerto soloist, I would think) is mostly about making the conductor seem
superior to the soloist or orchestra. I don't think the author fully backs
up this claim, such is the nature of Internet articles, but can recommend a
book which fills in the gaps of such an argument: "The Maestro Myth", by
Norman Lebrecht.

-Adam

At 09:28 AM 8/6/2005, dnleeson wrote:
>Until the advent of the romantic movement, audience participation
>(meaning applause or other expressions of approval or even
>disapproval) at public concerts was the norm. Sometimes
>audiences would not stop their expression of approval until the
>section or movement was repeated. There are countless cases in
>the classic period where Mozart was stopped cold by applause.
>There are also countless cases in Italian opera houses where the
>audiences refused to allow a singer to continue, so bad was s/he.

[...]

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