from daily@delancey.com

In today's excerpt--audiences at a classical music
performance:
"The modern classical-music performance, as
audiences have come to know it and sometimes to
love it, adheres to a fairly rigid format. ... The audience
is expected to remain quiet for the duration of each
work, and those who applaud between movements
may face embarrassment. Around ten o'clock, the
audience claps for two or three minutes, the
performers bow two or three times, and all go
home. ...
"[However], before 1900 concerts assumed a quite
different form. ... Here is [James] Johnson's evocation
of a night at the Paris Opéra in the years before the
French Revolution:
" 'While most were in their places by the end of the first
act, the continuous movement and low din of
conversation never really stopped. Lackeys and young
bachelors milled about in the crowded and often
boisterous parterre, the floor-level pit to which only
men were admitted. Princes of the blood and dukes
visited among themselves in the highly visible
first-row boxes. Worldly abbés chatted happily with
ladies in jewels on the second level, occasionally
earning indecent shouts from the parterre when their
conversation turned too cordial. And lovers sought the
dim heights of the third balcony--the paradise--away
from the probing lorgnettes.'
"In other words, the opera served mainly as a
playground for the aristocracy. The nobles often
possessed considerable musical knowledge, but they
refrained from paying overt attention to what the
musicians were doing. Indeed, silent listening in the
modern sense was deemed déclassé. ...
'Public concerts didn't become widespread until after
1800, and well into the nineteenth century they took
the form of "miscellanies"--eclectic affairs at which all
kinds of music were played before audiences that
seldom sat still or quieted down. ... Applause usually
erupted after
movements, and at times during them, if the audience
heard something it particularly liked.
"What changed? ... To some extent, these changes
can be explained in anthropological terms: by
applauding here and not applauding there, the
bourgeois were signalling their membership in a
social and cultural élite. As Johnson points out, they
felt obliged to reconfirm that status from year to year,
since, unlike the aristocrats of yore, they lived in fear of
going back down the ladder. 'The bourgeoisie isn't a
class, it's a position,' the Journal des Débats
advised. 'You acquire it, you lose it.' Attending
concerts became a kind of performance in itself, a
dance of decorum."
Alex Ross, "Why So Serious?" The New Yorker,
September 8, 2008, pp. 79-80.
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