“We should welcome applause whenever it comes.”
–Emanuel Ax, pianist
The Musician’s Way, p. 183
Should audiences at classical concerts only applaud according to strict rules of etiquette?
I’d say no. Listeners should applaud when they feel like it.
Nonetheless, countless people are baffled by the applause practices at classical performances to the point where they find concertgoing to be an awkward experience.
Confusion about Applauding at Classical Concerts
Here’s what President Obama had to say about this topic at a 2009 concert at the White House:
“Now, if any of you in the audience are newcomers to classical music and aren’t sure when to applaud, don’t be nervous. Apparently, President Kennedy had the same problem. He and Jackie held several classical-music events here, and, more than once, he started applauding when he wasn’t supposed to.
“So the social secretary worked out a system where she’d signal him through a crack in the door to the cross-hall. Now, fortunately, I have Michelle to tell me when to applaud. The rest of you are on your own.”
I don’t think that audiences should feel awkward about when to applaud. It’s up to us performers to lead from the stage such that concertgoers know what’s expected of them and, concurrently, they can let go of inhibitions and not stifle an urge to show their appreciation.
In other words, we need to be able to inform our audiences about when to clap and also be adept at graciously handling outbursts of applause.
The confusion over applause primarily surrounds whether listeners should clap between the movements of multipart compositions, so I’ll focus on that issue.
Handling Applause
How can we performers inform audiences about the applause convention we have in mind?
Printed programs won’t suffice because not everyone is inclined to read a program. Instead, our on-stage presentation itself should be the source of applause cues.
So, when we perform for listeners who might be unsure when to clap, we can use both verbal and non-verbal communication to clear the air.
We might announce before we perform, but, regardless, our musicianship, body language, and stage deportment should signal what we want.
If an effusion of applause interrupts, though, I concur with Emanuel Ax: We should warmly accept such applause and show our gratitude with a nod.
The Consensus Grows
Classical pianist Stephen Hough opined on this subject in a 2009 piece for The Telegraph, “Clap between movements? Please!” He says, “There are certain movements in the repertoire that absolutely demand applause.”
On March 8, 2010, author and music critic Alex Ross gave a talk in London for the Royal Philharmonic Society titled, “Hold Your Applause: Inventing and Reinventing the Classical Concert.”
Ross reveals how concert etiquette has evolved over time and questions whether present-day practices straitjacket listeners. He concludes, “What I would like to see is a more flexible approach, so that the nature of the work itself dictates the nature of the presentation—and, by extension, the nature of the response.”
Note that neither Ross nor I advocates for a particular applause convention. As I see it, there’s no one “right” way to handle applause at concerts because there’s no “right” way to feel about a composition. Nor is there one superior manner of concert presentation.
Every Performer’s Responsibility
Whatever genre of music we perform, we should modify our presentation style to fit our repertoire, stage personality, the venue where we appear, and the public before us.
Sound simple? I suppose that it will be, as soon as we musicians make it so.
For guidelines to refine your stage presence, see p. 171-189 of The Musician’s Way.
Related posts can be found under the category Stage Presence.
© 2010 Gerald Klickstein
Photo licensed from Shutterstock
Hi, CP – Thanks for contributing. Your words imply that we should adopt the sort of flexible approach that I and Alex Ross advocate.
For ex., when we play at established venues such as Weill Recital Hall in NY or Wigmore in London, traditional stage deportment is apt.
But when we travel to non-traditional venues, esp. for the crucial purpose of building new audiences, then we should adapt our presentation style accordingly.
I am a little torn between tradition and progress regarding applause etiquette. On one hand, we want an informed audience because we suspect that the knowledgeable listener is somehow more appreciative of what we are performing. On the other hand, if we want classical music to once more find a place in the hearts and ears of the many, making them feel awkward for not knowing when to show enthusiasm doesn’t exactly endear them to the idea of sitting still versus a pop concert’s casual atmosphere.
Hi Gerald,
We love this topic! Please visit our site and read the advice we received from our friends at The Philadelphia Orchestra. The only thing I would add is this: When in doubt, respect the venue.
Hi Carol – Thanks for reading and sharing your article. I hope you’ll stop by often.
Well said, Roberto. Thanks for contributing.
A little work on your stage presence can do wonders about this. Details in body language can cue the audience about waiting an extra second before applauding, or holding back between movements.
Also, carefully choosing your words when you address the audience can send a message.
That said, there’s no place for dirty looks toward an audience member who’s only sins were to show up for your concert and like your playing…
I can agree that audiences should be allowed to applaud when they feel like it. This is after all a free country. Where in the U.S. law does it say anything about “concert etiquette”? If there is something in the music that the audience really likes a lot, then why shouldn’t they be allowed to show it. The applause doesn’t have to last long. They can continue to listen as they applaud. By applauding at the end of the piece, how can we really tell what it is that they liked the most about the piece or the least? Applauding whenever would show what people really appreciate in the music. Not simply just because it is polite to applaud. After an exciting phrase, the applause would show just how exciting that piece of music is to the audience.
Excellent post and interesting comments.
I am of the “graciously accept any and all applause” school myself. I put the emphasis on “graciously”–any hint of ‘humoring’ the audience when the clap at the ‘wrong’ moments will make them feel bad and that hurts the goal of ANY performance of ANY repertoire, which is to create a real-time transcendent communication between performer and audience.
Ryan – glad you found the links helpful. Thanks for sharing your thoughts.
Max – well said and much appreciated.
I hope that these discussions help empower us musicians to take the lead in educating listeners and also creating performance experiences in which audiences feel at home with the applause practices that fit different concert situations. If we don’t show the way, who will?
I understand how patrons *should* be able to come in with no knowledge of the music and rely on that lack of erudition to excuse excessive applauding. I understand, but don’t agree with it. Much like when one goes to a heavy rock concert, they *should* be able to just sit down in their assigned chair and enjoy the music, even though the rest of the crowd is jumping up and down whilst yelling at the top of their lungs. Good luck with that.
My point is there will always be some intrinsic rite with musical performances. Be it “stomp-stomp-clap” when Queen’s “We Will Rock You” is performed, or a saxophonist just finishing a solo and the jazz club gives a scatter of claps. (Not to mention the number of rituals at Proms during Pomp and Circumstance!)
Granted, the applause should be a result of the performance. But there are times when the performer will not put up with unnecessary applause. The video of Narcisco Yepes performing in Japan is a great example of that! (http://www.youtube.com/watch?v=UN6tcdiqELk#t=00m45s). The audience even laughed at their “blunder,” though I’m certain Yepes was not amused.
What I find interesting is the nature of the majority of patrons who not only like it this way, they want it this way. There’s something satisfying about being “in the know” with performance protocol. I believe it should be that way. After all, they did just a little work by educating themselves on how the music is presented and its various meanings. They took just a bit of time to understand what a “movement” is, opposed to a “work.” Why must they heed to those who wander in, often times with undeserving entitlement?
Whenever this issue comes up with people who are not regular orchestral concert-goers, I tell them to consider that the U.S. President gives State of the Union speeches. During it, the cabinet sometimes applauds at individual sentences! Intentions aside, I don’t think I need to tell you how annoying THAT can get. It’s just as disrespectful as a cell phone going off during a pp solo.
Music is for everyone, music is universal, insert-a-favorite-dispensable-music-cliché-here. No one’s disputing that. But know what you are getting into. It’s only fair to the other patrons (and the performers). Just as music is accessible, so is effort. Showing a little effort in understanding what one is listening to is just as respectful as any applause will ever be. In fact, as a composer myself I’d take such initiative over applause any day.
Totally agree.
I was about to ask the question, “What about DURING a performance.” Then I read over the Ross article. Thanks for the links!