![]() ![]() But many people in the industry disagree… People first wanted to leave the clapping until the end of the work so that audience members could listen to the music totally undisturbed, without the distraction of applause in between movements.Īnd although not a major one, clapping between movements is still considered a bit of a concert faux-pas today. ![]() People started to think that clapping between the movements of a symphony distracted from the unity of the piece, punctuating works with unnecessary noise on live CD recordings. Schumann did the same for his piano and cello concertos, as well as his Symphony No.4.īy the time recording equipment came around in the 20th century, applauding in between movements came to be heavily frowned upon. In 1842 at the debut of his ‘Scottish’ Symphony, Mendelssohn explicitly asked for it to be played without a break, to avoid any interruptions. Mahler even specified in the score of his Kindertotenlieder that its movements should not be interrupted by applause.Īnd he wasn’t alone. Many composers strongly objected to them. ![]() When classical concerts became public in the 19th century, organised groups of professional applauders called claques were often hired to applaud particular performers. Individual movements were even played all over again if they received a big enough reaction. In the late 18th century, classical concerts were more like small aristocratic gatherings.Ĭomposers like Mozart actually expected people to talk during their concerts – and they enjoyed hearing spontaneous applause. Like the music itself, classical concert etiquette has evolved over time. ![]()
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