That's precisely what I think would ruin Jerry Lewis' first scene appearance in the stage version of "Damn Yankees," when he played the devil.
 
Cary Ginell
 

> Date: Thu, 16 Aug 2012 12:48:35 -0700
> From: [log in to unmask]
> Subject: Re: [ARSCLIST] FW: [ARSCLIST] Re: Applause
> To: [log in to unmask]
> 
> I was taught -- actually taught! -- to not applaud movies unless there
> were people there involved in making the movie. But if you look at the
> early Vitaphone shorts which had to be filmed continuously without
> breaks or edits, the performers pause and occasionally bow in
> expectation of the applause in the theatre. I suppose if it is a
> Vitaphone Project screening with Ron Hutchinson there that maybe
> applause is appropriate!
> 
> The applause I HATE is when a performer in a play makes their first
> appearance on the stage. I recently saw the closing Broadway
> performance of "Anything Goes" and EACH performer's clique loudly
> cheered when they appeared, continuously breaking the rhythm of the
> performance. 
> 
> Mike Biel [log in to unmask] 
> 
> 
> -------- Original Message --------
> Subject: Re: [ARSCLIST] FW: [ARSCLIST] Re: Applause
> From: Donald Tait <[log in to unmask]>
> Date: Thu, August 16, 2012 2:55 pm
> To: [log in to unmask]
> 
> The debate about whether to have applause or not between movements in
> the concert hall has been going on since at least the 1920s. Wilhelm
> Furtwaengler had two very successful lengthy guest engagements with the
> New York Philharmonic during two seasons in the mid-20s, and there were
> isolated complaints because he did not want applause between movements.
> In relatively more recent times, Erich Leinsdorf was vocal about
> approving of and even encouraging applause between movements. I remember
> a Boston Symphony tour concert in Chicago during the 1960s when there
> was a little applause after a movement of Brahms's 3rd Symphony.
> Leinsdorf turned around on the podium, grinned, and bowed. With which
> encouragement the applause increased.
> 
> I think one's reaction to such applause is purely personal. For myself,
> I entirely agree with Steve. I find it an interruption. It's fine that
> people approve of what the artists have done, but if some in the
> audience would prefer to consider what they've experienced in silence,
> such as I, they cannot. There is also the concept of a musical and
> emotional totality. Steve's example of Bruckner is perfect as far as I
> am concerned.
> 
> In another message, Carl Pultz mentioned how Mahler drew protests when
> he insisted that the Vienna Opera be darkened during performances to put
> an end to audiences' treating them as opportunities to socialize during
> the opera. Toscanini did the same thing, for the same reason(s), in
> Italy during the 1890s. It had never been done there, evidently. Like
> Mahler, Toscanini provoked howls of outrage. And since their time opera
> houses go dark.
> 
> I also agree with everyone about attaca between movements. The timing
> can make a huge difference in the work's final impression. And with
> regard to Tchaikovsky's Pathetique Symphony third and fourth movements,
> may I risk telling a famous anecdote in case someone hasn't heard it
> yet? For those who have, apologies for the repetition. It could well
> even be true.
> 
> Supposedly, at a Boston Symphony concert at Tanglewood, Pierre Monteux
> conducted Tchaikovsky's 6th Symphony. As usual, there was a storm of
> applause after the third movement. They finished the symphony. The story
> is that as two women were walking out of the Shed after the concert, one
> asked the other "what was that sad piece they played after the
> symphony?"
> 
> I remember that Jascha Horenstein's late 1960s HMV LP of the Pathetique
> has the last movement attaca. Barely a second or so between the
> movements on the LP and no separating band between them. There might
> also have been a comment in the liner notes that Horenstein had insisted
> upon that because he felt strongly about the movements being an
> emotional entity that should not be separated by applause.
> 
> In any case, the applause issue is a major point of discussion that's
> been around for many decades. It seems to have intensified a bit
> recently. It's very interesting.
> 
> Don Tait
> 
> 
> 
> -----Original Message-----
> From: Steve Smolian <[log in to unmask]>
> To: ARSCLIST <[log in to unmask]>
> Sent: Thu, Aug 16, 2012 9:27 am
> Subject: Re: [ARSCLIST] FW: [ARSCLIST] Re: Applause
> 
> 
> Applause between movements. The way I listen, I find it infuriating to
> have 
> my concentration broken. It drives me nuts during Bruckner symphonies,
> for 
> example. Sorry.
> 
> Applause between movements was common during WW II when servicemen were 
> often given tickets and were hearing their first classical concert. Not 
> knowing the style of music, they believed the silence meant the piece
> was 
> over.
> 
> The space between movements can be meant as a resting place for the 
> orchestra to retune or otherwise adjust itself. Surely the pause between
> 
> the 1st & 2d mvts of the Mahler 4th Symphony is one such, as the first 
> fiddle has to switch instruments to one with a different tuning. In
> other 
> places, however, the rhythmic propulsion generated by the end of the
> prior 
> movement forces the one following to begin at precise moment thereafter-
> I 
> contend the end of the scherzos of the Beethoven 3rd and 7th are perfect
> 
> examples. Feel the unnotated beats. Attaca! Attaca!
> 
> Every so often I run across a tape of a performance where this happens. 
> Invariably, it adds a layer of excitement.
> 
> Steve Smolian
> 
> 
> -----Original Message----- 
> From: ahamilton
> Sent: Thursday, August 16, 2012 8:54 AM
> To: [log in to unmask]
> Subject: Re: [ARSCLIST] FW: [ARSCLIST] Re: Applause
> 
> My father said he once saw a 6-disc set of 78s of a public pre-War
> Hitler
> speech. Shouting in German for 11 sides, but on the last B-side was
> nothing but thunderous applause. ):
> 
> On a similar note, when in college, my father and one of his roommates
> used
> a disc recorder to make a lock-out groove recording (I suppose at 16
> rpm?)
> for the amusement of their third, O'Leary, who would walk in later to
> hear
> the disc repeating their recording every 3.6 seconds(?), "O'Leary eats
> dung
> raw, through a flavor straw, Haw, Haw!"
> 
> 
> 
> 
> Andrew
> 
> 
> 
> ----- Original Message ----- 
> From: "Tom Fine" <[log in to unmask]>
> To: <[log in to unmask]>
> Sent: Thursday, August 16, 2012 8:40 AM
> Subject: Re: [ARSCLIST] FW: [ARSCLIST] Beethoven Violin Concerto on
> YouTube
> 
> 
> > Hi Carl:
> >
> > I think audiences today in the US are more "polite" (some would say 
> > "restained" or "detached") than
> > times past. I have some old recordings of concerts at Carnegie Hall and 
> > other venues, mostly
> > transcriptions of broadcasts, and you hear constant coughing and 
> > shuffling, and often applause
> > between movements. Orchestras seemed to pause more between movements back 
> > then, expecting applause.
> > I wonder if the LP era and classical's "golden age" of recordings got 
> > audiences used to shorter
> > pauses between movements, and some sort of cultural change caused a 
> > group-think that classical music
> > must be reverently enjoyed in silence. I remember being discouraged from 
> > reading program notes while
> > the orchestra played during a school trip, as if I can't listen when I'm 
> > reading. Meanwhile, how
> > long can a kid pay rapt attention to men and women in black suits moving 
> > bows across strings?
> >
> > In today's multi-media age, I wonder why more orchestras don't at least 
> > explore, if not adopt, the
> > concept of accompanying classical music to light shows and/or other visual 
> > events. Is it somehow
> > "mind pollution" for another artist to suggest what colors and/or images 
> > may accompany the music?
> > What if anyone with a wifi device in the hall could create their own 
> > visual entertainment, triggered
> > by the ambient audio and/or some sort of sync to the score, on their iPads 
> > and cellphones (with the
> > damn ringers turned off, of course - perhaps the app could do that 
> > automatically when it's
> > launched!). I think it would make the genre more mainstream, boost 
> > appreciation for the idea that
> > music can be deep and complex and subtle (as opposed to stereotypically 
> > simple and silly, like most
> > pop hits). Don't forget that Scriabin wrote detailed notes on light shows 
> > to accompany his solo
> > piano music, and Hilde Somer re-created some of that entertainment in the 
> > 60's. Also, I would
> > suggest that Virgil Fox's tour of rock venues with the massive Rodgers 
> > Organ and accompanying
> > psychodellic light show, exposed more people to the music of Bach than all 
> > of the symphony concerts
> > in the world occuring in the same time frame.
> >
> > Here are two of Virgil Fox's "Heavy Organ" concerts:
> > http://www.wolfgangsvault.com/virgil-fox/
> > (registration required, lossy streaming audio, but you'll get the idea)
> >
> > Bottom line, who cares if people applaud between movements? Take the 
> > stuffiness out of the concert
> > hall and the music will live on in "the masses."
> >
> > One caveat to my populism -- notice I don't advocate dilluting classical 
> > music with silly
> > "crossover" dreck. It should remain a highly skilled affair, with close 
> > contact to the heritage of
> > the art, and the worst thing to do is think that poptart "singers" or 
> > whatever else is popular at
> > the moment has any place mixing in with Beethoven. And idiotic "theme" 
> > albums like "Bach for the
> > Bathroom" or whatever just make the music seem dumb and boring. These are 
> > marketing ploys created by
> > small minds, not artistic expansion of a music form into the modern arena 
> > of mixed-media arts.
> >
> > -- Tom Fine
> >
> > ----- Original Message ----- 
> > From: "Carl Pultz" <[log in to unmask]>
> > To: <[log in to unmask]>
> > Sent: Thursday, August 16, 2012 8:00 AM
> > Subject: Re: [ARSCLIST] FW: [ARSCLIST] Beethoven Violin Concerto on 
> > YouTube
> >
> >
> >> Applause after 1st mvmnt!
> >>
> >> -----Original Message-----
> >> From: Association for Recorded Sound Discussion List
> >> [mailto:[log in to unmask]] On Behalf Of Shai Drori
> >> Sent: Wednesday, August 15, 2012 5:21 PM
> >> To: [log in to unmask]
> >> Subject: Re: [ARSCLIST] FW: [ARSCLIST] Beethoven Violin Concerto on 
> >> YouTube
> >>
> >> A really nice performance. Listening in bed for the night.
> >> Shai
> >>
> >> Sent from my ringing donkey
> >>
> >>>
> >>>
> >>> There is this outstanding performance of the Beethoven Violin Concerto 
> >>> I
> >> have just discovered.
> >>> http://www.youtube.com/watch?v=epkviHdNMww
> >>>
> >>> It's by Zino Francescatti,and The New York Philharmonic,under Dimitri
> >> Mitropoulos.It is obviously a concert recording.Can anybody
> >>> tell me when it was done,and if it was ever issued?
> >>>
> >>> Roger
> >>