Lindsey Orcutt wrote:

>Although I find this to be true in theory, I'm not sure that it's accurate
>in a historical sense.  I recall reading that the practice of clapping
>*only* at the end of all the movements is a 20th-century practice, not one
>composers hoped for.  (Oh, how I wish my memory were better sometimes!!) If
>I could recall where I read it, I'd direct you there, but I recall reading
>as well that audiences in earlier days (19th century?) not only clapped in
>between movements, but did so enthusiastically.

Lindsey makes a very valid point here.  In fact, in the concerts of yore
it was not at all uncommon for works to be played out of order.  A typical
program in the early 19th century may have looked like this:

A movement of a symphony.
An aria or solo piano work.
A concerto movement.
The second movement of the symphony
Another aria, etc.

Of course, it was not uncommon for concerts to be all day affairs as well..
After all, travel in those days was not what it is today and it could take
days to get to a city with a large enough venue to hold a concert.  I would
venture to say that with the evolution of program music in the mid to late
19th century, it made more sense to hold the applause, as the works
actually told a story, or evoked one at any rate.

>As my memory is proving pitiful at the moment, perhaps someone else could
>give a little more insight into this evolution.  Incidentally, I've always
>found it nice when, after performing one movement of a piece, the audience
>(whether they know better or not) breaks into applause.  Sometimes it gives
>me the courage to go on!:-)

I must say though that I am at heart a traditionalists and rather formal at
certain affairs.  The holding of applause is refined in my opinion, and
good behaviour in any form must be encouraged these days!!!

Kevin Sutton