The end of the march in the Tchaikovsky Sixth is a natural place to applaud, before the final movement takes us on a musical journey through anguish and death. Stephen Hough gives several good examples. I’ve done it myself, and I’ve never seen a performer react churlishly in response to this kind of mid-work appreciation. It fact, to be horrified of it and show visible displeasure smacks of some kind of pretentious snobbism.’Īpplause after a particularly rousing movement of a larger piece doesn’t bother me at all. Yuliya Gorenman adds on Facebook: ‘I don’t mind it at all and kind of expect it when the music clearly calls for it, for example at the end of the first movement of Tchaikovsky’s Piano concerto No. It’s almost perverse to sit on your hands in stony silence at the end of some movements wonderful stillness is the natural reaction to others. I like it when an audience spontaneously reacts to the music, rather than following a convention. See Mozart’s delighted letter at getting a Paris audience to ‘shh’ & applaud in 31st Symph.&it’s pretty clear Beethoven Op 61 is designed to elicit applause at the end of the exposition & development. It’s clear that previous generations of composers planned for it DURING works. But, in any case, I’d much rather have applause between movements than cell phones at any moment! I don’t actually mind applause either, as long as it’s a heartfelt response and not something that the public is expected to deliver automatically. And Tchaikovsky 6th Symphony after the March. I almost never mind it, and there are certain movements when I think the composer absolutely expected it: Tchaikovsky 1st, Brahms 1&2, Grieg etc. An interesting thread is developing on Twitter.
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