Meaning: The quote by Emanuel Ax touches on an interesting aspect of classical music performance etiquette – the practice of refraining from applause between movements of a musical composition. This tradition is often observed in classical concerts, particularly those featuring symphonies, concertos, or other multi-movement works. The idea that applause is not allowed between movements has been ingrained in classical music culture for many years, but as Ax points out, the origins of this practice are not entirely clear.

The custom of refraining from applause between movements is believed to have emerged during the 19th century, a time when concert etiquette and audience behavior were undergoing significant changes. Prior to this period, audiences were more prone to express their appreciation for individual movements or sections of a piece through applause, similar to the way audiences respond in contemporary popular music concerts. However, as classical music evolved and the concert experience became more formalized, a new standard of decorum began to take hold.

During the 19th century, the rise of the symphony orchestra and the emergence of renowned composers such as Beethoven, Brahms, and Tchaikovsky led to a shift in audience behavior. As symphonies and other large-scale works became more prevalent in concert programs, there was a growing emphasis on the continuity and coherence of these compositions as unified artistic statements. This shift in focus from individual movements to the complete work as a whole contributed to the development of the no-applause-between-movements tradition.

The exact moment when this practice became firmly established is difficult to pinpoint, as it seems to have been a gradual and organic evolution rather than a specific decree or pronouncement. As Ax suggests in the quote, there is a sense of collective responsibility among musicians, audience members, and concert organizers for the perpetuation of this custom. It is not a rule that was imposed from above, but rather a convention that emerged over time and became deeply ingrained in the culture of classical music performance.

One possible reason for the no-applause-between-movements tradition is the desire to preserve the immersive and contemplative experience of listening to a multi-movement work. By minimizing interruptions and maintaining a sense of continuity between movements, audiences are able to engage more deeply with the artistic narrative and emotional arc of the composition. This approach aligns with the concept of Gesamtkunstwerk, or "total work of art," championed by composers such as Richard Wagner, who sought to create unified, all-encompassing musical experiences.

Another factor that may have contributed to the establishment of this tradition is the desire to show respect for the performers and the music itself. By refraining from applause between movements, audiences demonstrate their attentiveness and appreciation for the musicians' artistry and the composer's creative vision. This practice also reflects a certain level of deference to the performers, allowing them to maintain their focus and concentration as they transition between movements.

Despite the prevalence of the no-applause-between-movements tradition in many classical music circles, it is worth noting that there are differing perspectives on this issue. Some musicians and music lovers argue that the strict adherence to this practice can create a sense of rigidity and formality that detracts from the spontaneity and emotional immediacy of the concert experience. In recent years, there has been a growing movement to encourage more inclusive and natural audience responses, including the expression of applause and enthusiasm between movements when the music moves them to do so.

Ultimately, the question of whether applause between movements should be allowed remains a topic of ongoing debate within the classical music community. While the tradition of refraining from applause has deep historical roots and is deeply ingrained in classical concert etiquette, there is also a recognition of the need to balance tradition with the evolving expectations and experiences of contemporary audiences. As concert hall practices continue to evolve, it is likely that the conversation around applause between movements will remain a dynamic and evolving aspect of the classical music world.