I can testify from personal experience that in former days, before “music appreciation” reared its unlovely head and made purists and pedants out of too many music-lovers, the end of the 32nd-note variation in Beethoven’s “Kreutzer” Sonata was invariably the signal for an outburst of applause. I heard this happen at Sarasate’s, Ysaÿe’s, and Kubelik’s performances of the “Kreutzer.”