Originally posted by DracoM
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Prom 4 - 16.07.17: Daniel Barenboim and Staatskapelle Berlin
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Detailed (and very amusing) historical considerations from Alex Ross here....
You do hear interstitial applause on mid-20th Century Historical performances (the more recent fashion is to edit out from live) - the Horowitz/Toscanini Brahms B Flat from 10/1948 is so overwhelming the crowd leap in before the end of the first movement, again between 2nd and 3rd, and can scarcely wait to roar their approval at the end...(I think I heard a bravo in there too, or perhaps on another Toscanini effort).
It's surely a well-established Classical tradition.
For whatever reason, it doesn't bother me much, unless it seems indiscriminate - grotesquely inapt to the musical moment. Cheering the end of the DSCH 10 1st movement would tend to reduce the effect of the rip-roaring stormy music about to ensue (Listen up to Prom 5...), similarly between the Schumann 2nd adagio and finale...and so on. (The Tchaikovsky 6th is one of the most fascinating either/or cases though... )
...it's all contextual, really...
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Daniel Barenboim interviewed on the Andrew Marr Show this morning.
[Talking about Prom audiences] ". . . It's not the public that goes to the Festival Hall during the winter. And I have always asked myself what do these people, the five thousand that come daily to the Proms and are so - er - listen so attentively and are so enthusiastic – what do they do for music for the rest of the year? I have never found out the answer".
Well, it's obvious, they buy and discuss CDs at length on this Forum – and, time permitting, listen to them as well.My life, each morning when I dress, is four and twenty hours less. (J Richardson)
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Originally posted by Pianorak View PostDaniel Barenboim interviewed on the Andrew Marr Show this morning.
[Talking about Prom audiences] ". . . It's not the public that goes to the Festival Hall during the winter. And I have always asked myself what do these people, the five thousand that come daily to the Proms and are so - er - listen so attentively and are so enthusiastic – what do they do for music for the rest of the year? I have never found out the answer".
Well, it's obvious, they buy and discuss CDs at length on this Forum – and, time permitting, listen to them as well.
I know I do......I will not be pushed, filed, stamped, indexed, briefed, debriefed or numbered. My life is my own.
I am not a number, I am a free man.
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Originally posted by Pianorak View PostDaniel Barenboim interviewed on the Andrew Marr Show this morning.
[Talking about Prom audiences] ". . . It's not the public that goes to the Festival Hall during the winter. And I have always asked myself what do these people, the five thousand that come daily to the Proms and are so - er - listen so attentively and are so enthusiastic – what do they do for music for the rest of the year? I have never found out the answer".
Well, it's obvious, they buy and discuss CDs at length on this Forum – and, time permitting, listen to them as well.
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Originally posted by cloughie View PostI think DB was referring to those who were not there for most of the year but spend most of their time perfecting clapping between movements, ready for the season.
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Originally posted by pastoralguy View PostMaybe I've had too much whisky but give it a f*****g rest, Tom."...the isle is full of noises,
Sounds and sweet airs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears, and sometime voices..."
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Originally posted by Eine Alpensinfonie View PostWhen people realised it was annoying, selfish, boorish and hedonistic.
Elgar, Walter, Monteux, Leinsdorf and Ax (to name but a few), are not musicians I would describe as 'annoying, selfish, boorish and hedonistic'.
Incidentally, Olin Downes (New York Times, 21 August 1938), deplored the ‘ridiculous banning and absence of applause between the movements of symphonies’, describing it as ‘snobbism in excelsis’. I have to say I agree with him - if an audience at a live event - any live event - wants to applaud, then it's hard to see why they shouldn't. If you insist on silence between movements, listen to a recording.
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Absolutely Makropoulos... thanks for writing this, and vide #49 for Alex Ross, a 1948 Studio 8H audience, my own and Mozart's feelings (among many others...)
To Be or not To Be.....
OK - so you're at a performance of Tchaikovsky's 6th Symphony. At the end of the allegro molto vivace, you're stunned. Silent. You know what's coming. Some members of the audience cheer and applaud, quite loudly. Then, when the adagio lamentoso begins, they fall silent. As does the whole hall.
How do you, who knew the consequence to the 3rd movement's faux-triumph, react?Last edited by jayne lee wilson; 17-07-17, 03:39.
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