Kevin Sutton wrote:

>To elaborate a bit: a composer writes a symphony or concerto with a
>certain architechtural structure in mind.  The movements flow from one to
>the other or constrast one another by some sort of design.  To break the
>mood and flow by applause is like reading the chapters of a book out of
>order.

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.

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!:-)

-Lindsey Orcutt
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