Your Favourite Slow Movement

[vinteuil]

No, it's just an issue in the Royal Albert Hall from mid-July to early September. The audience members concerned are perhaps avid listeners to CFM and R3 mornings, and think all musical compositions are single movement works.

... or are perhaps Historically Informed, and aware of the manner in which many of these works would have been received and applauded at the time.

.

[jayne lee wilson]

Having composed six symphonies, Sibelius finally found the solution to the issue of clapping between movements. That said (and apologies for the brief diversion from the topic), has anyone any thoughts about the extent to which such applause seems predominantly to affect performances of orchestral works but is far less of an issue in performances of chamber works?

I recall Hans Keller saying that the listener was "the more or less excusable eavesdropper" to chamber music. I guess that such Voces Intimae don't often lend themselves to displays of spontaneous and unconfined enthusiasm.
Orchestral Works are surely always "public statements" of some kind. With varying degrees of public acclaim, unconfined or otherwise.

Incidentally, Alpensinfonie said that the applause problem is only an issue in the RAH from July to September, but of course you do find interstitial applause on some live historical recordings, especially where famously starry soloists are provoking the adoration. That extraordinary Brahms B Flat Concerto I've often mentioned, with Horowitz/NBCSO/Toscanini (2/1948) is an obvious example. The audience dive in even before the first movement has truly finished. And I would say entirely forgivably, once you've heard it!

[Eine Alpensinfonie]

... or are perhaps Historically Informed, and aware of the manner in which many of these works would have been received and applauded at the time.

.

I say chaps. I don't like to disturb the others, it'd be a jolly good thing to do what old did 200 years ago. I realise they're dead, but wouldn't it be a jolly old wheeze if we did. Not that I'm a sheep or anything. Of course, we could go one better and applaud during the good bits, like they did when Leo's lad had his symphony played in Paris. I know it's awfully ill-mannered, but what-ho! if they were ill-mannered 200 years ago, that's OK, what?

[ahinton]

Chamber audiences are stuck-up.

Stuck up what?(!) Anyway, audiences for orchestral music and those for chamber music are hardly mutually exclusive!

[cloughie]

I think Mendelssohn had already done that in his Violin Concerto.

...and Beethoven with the Emperor Conc!

[Serial_Apologist]

Chamber audiences are stuck-up.

Chamber potties?

[Eine Alpensinfonie]

...and Beethoven with the Emperor Conc!

But Mendelssohn linked all the movements.

[oddoneout]

Stuck up what?(!) Anyway, audiences for orchestral music and those for chamber music are hardly mutually exclusive!

No but I would assume that the overlap audience would contain few if any applauders?

the applause problem is only an issue in the RAH from July to September,

Other venues and times are available - Watford Coliseum, concert broadcast this afternoon, although to be fair that was to be expected and not really a problem.

[Bella Kemp]

Oh surely Bartok's third piano concerto - and didn't you really mean that Beefoven?

[Beef Oven!]

Oh surely Bartok's third piano concerto - and didn't you really mean that Beefoven?

Great shout Bella Kemp

But no, I did really mean #2. I find it so atmospherically Bartokian, sparse and atmospheric. However, I'd concede that the adagio from #3 better crafted .

[Bella Kemp]

Wonderful! I shall listen to number 2 tonight.

[silvestrione]

Mozart PC no. 17
Bruckner Sym 7
Tippett the slow sections in Sym 4